{"id":409,"date":"2022-05-26T16:23:41","date_gmt":"2022-05-26T16:23:41","guid":{"rendered":"https:\/\/sweet-mcclintock.194-60-87-163.plesk.page\/inmediasres\/2022\/05\/26\/clanci-in-medias-res-br-20\/"},"modified":"2022-05-26T16:23:41","modified_gmt":"2022-05-26T16:23:41","slug":"clanci-in-medias-res-br-20","status":"publish","type":"post","link":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/","title":{"rendered":"\u010clanci IN MEDIAS RES br. 20"},"content":{"rendered":"

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\n  11(20)#1 2022<\/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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DOI 10.46640\/imr.11.20.1<\/a>
\n UDK 001.9:070.16*Covid-19
\n Izvorni \u010dlanak
\n Original scientific paper
\n Primljeno: 22.1.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Zdenko Zeman, Marija Geiger Zeman and Martina Topi\u0107<\/span><\/p>\n

Ivo Pilar Institute of Social Sciences
\nMaruli\u0107ev trg 19, Zagreb, Croatia
\nzdenko.zeman@pilar.hr <\/p>\n

Ivo Pilar Institute of Social Sciences
\nMaruli\u0107ev trg 19, Zagreb, Croatia
\nmarija.geigerzeman@pilar.hr <\/p>\n

Leeds Beckett University
\nLeeds LS1 3HE, United Kingdom
\nM.Topic@leedsbeckett.ac.uk <\/p>\n

Digital Media Environments and their Implications: Instagram<\/span><\/strong><\/p>\n


\nPuni tekst: pdf (708 KB), English, Str. 3243 – 3267
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Abstract<\/em><\/strong><\/p>\n

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The complex intertwining of mainstream and social media has resulted in the creation of a \u201cnew hybrid ecosystem\u201d in which consumers are primarily engaged with ideas and news posted on social media, that are then transmitted as news in mainstream media (Wheeler 2018). In this new \u201chyper-connected environment\u201d (Pepper 2018), \u201cfake news\u201d occupies a specific position. The concept of \u201cfake news\u201d is very complex, contradictory and ambivalent because it appears as an umbrella term covering various phenomena and different practices of which some are already known, while others are fairly new (Molina et al. 2021). The new communication environment and the role of fake news as part of it, may also be analysed through the celebrity phenomenon. This paper uses the method of discourse analysis to examine texts on various statements by celebrities about COVID-19, published on two web portals in Croatia (index.hr, 24sata.hr). It becomes clear that celebrities function as very potent sharers of fake news, since consumers of online content give great weight to their actions and statements. On the other hand, mainstream media often act as a corrective to social media, in their efforts to convincingly deny fake news and the celebrities that share them on social media.<\/em><\/p>\n

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Key words:<\/em><\/strong> new hybrid ecosystem, fake news, celebrities, COVID-19, discourse analysis, index.hr, 24sata.hr.<\/em><\/p>\n

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

On 12 March 2020, Tom Hanks, the famous Hollywood actor, shared on his Instagram account that he is in Australia with his wife Rita Wilson, that they have both tested positive for the coronavirus, and are following all public health and safety protocols (testing-observation-isolation). The post became viral almost immediately and was shared as a news item by all media corporations \u2013 CNN (12 March, Gonzalez 2020)<\/a>[1<\/strong><\/span>]<\/sup><\/a>, Washington Post (12 March, Rao, Butler and du Lac 2020)<\/a>[2<\/strong><\/span>]<\/sup><\/a>, BBC (12 March 2020.)<\/a>[3<\/strong><\/span>]<\/sup><\/a>, The New York Times (17 March, Sperling 2020)<\/a>[4<\/strong><\/span>]<\/sup><\/a>. This is just one among many examples of the phenomenon Mark Wheeler<\/a>[5<\/strong><\/span>]<\/sup><\/a> calls the “new hybrid ecosystem”, created through a complex exchange between traditional\/mainstream media and social media. Wheeler<\/a>[6<\/strong><\/span>]<\/sup><\/a> explains how this “hybridisation of social and mainstream media” relates to three phenomena:<\/p>\n

    \n
  1. The overall change in the way in which information is consumed \u2013 readers engage with ideas they first encounter on social networks (Twitter, Facebook, WhatsApp)<\/a>[7<\/strong><\/span>]<\/sup><\/a> and only subsequently with information published in mainstream media. Recent studies have shown that Facebook is “one of the preferred sources” for news, chosen in particular by the younger generation;<\/a>[8<\/strong><\/span>]<\/sup><\/a><\/span> <\/li>\n
  2. Some articles in mainstream media (newspapers, tv, web portals) are based on stories\/posts\/tweets that have become viral, Wheeler notes<\/a>[9<\/strong><\/span>]<\/sup><\/a> i.e., due to their viral characteristics and reactions by the public, they are construed into a news item after first being published on social networks;<\/span> <\/li>\n
  3. A “vicious circle” of news reporting is created, “raising the profile of specific ideas” but at the same time helping to “construct those ideas” regardless of whether they are true or not, and whether they are reported “in context or out of context”, Wheeler concludes.<\/a>[10<\/strong><\/span>]<\/sup><\/a><\/span> <\/li>\n<\/ol>\n

    Wheeler’s concept of a “new hybrid system” is important in terms of this paper for two reasons: 1) it points to the phenomenon of transferring ideas from the digital universe of social media into the digital and print universe of mainstream media, where posts by celebrities made visible for specific reasons (such as their provocativeness, controversy, relevance, sensationalism etc.) become viral and are shared as fake news in mainstream media; 2) Some of the ideas circulating in this new “hyper-connected environment” as Pepper<\/a>[11<\/strong><\/span>]<\/sup><\/a> calls it, are not based on reality\/facts, cannot be checked and have been identified and classified as fake news.<\/p>\n

    Citing numerous instances of research, De Coninck et al. note that the “digital media ecosystem \u2013 with its socially networked architecture, trolls, and automated bots” is a hotbed for fake news, “mis- and disinformation, such as conspiracy theories”.<\/a>[12<\/strong><\/span>]<\/sup><\/a><\/p>\n

    The following part of the paper analyses fake news in the context of the COVID-19 pandemic, and then presents research results on the news coverage of the pandemic and the involvement of celebrities.<\/p>\n

     <\/strong><\/p>\n

    Fake news: a short history of the phenomenon<\/strong><\/p>\n

    The concept of “fake news” or “fabricated information”<\/a>[13<\/strong><\/span>]<\/sup><\/a> is extremely complex because it is used as an umbrella term covering different phenomena of which some have already been known while others are more recent.<\/a>[14<\/strong><\/span>]<\/sup><\/a> False information, misinformation and rumours are old social and cultural phenomena well documented throughout history.<\/a>[15<\/strong><\/span>]<\/sup><\/a> However, only in the 20th century have these phenomena caught the attention of the scientific community. Galit Hasan-Rokem<\/a>[16<\/strong><\/span>]<\/sup><\/a> notes that “initially they were examined in the context of modernity”, or more precisely, mass media (newspaper, radio, television), and then increasingly the Internet, which has become a platform for the construction, distribution, popularization and consumption of all kinds of misinformation.\u00a0 <\/p>\n

    Before the advent of mass media and the Internet, rumours and invented narratives were construed and disseminated, seeping into the political, religious, legal and everyday life, with “real social consequences”.<\/a>[17<\/strong><\/span>]<\/sup><\/a> Burkhardt<\/a>[18<\/strong><\/span>]<\/sup><\/a> for example, mentions the case of a Byzantine historian Procopius of Caesarea [500. \u2013 ca. 554. AD] who after the death of Emperor Justinian discredited him through fake news, unverifiable and baseless stories [since he did not fear retaliation, questioning, or investigation] despite being his supporter during the emperor’s lifetime. Campion-Vincent<\/a>[19<\/strong><\/span>]<\/sup><\/a> cites Berc\u00e9’s description of accusations from the times of the plague epidemic in Pre-Revolutionary France and cholera in the 19th century, of “voluntary spreaders of the illness, poisoners of fountains, greasers of door knobs, perverse doctors, nurses or grave diggers, [and] killing vaccine”). In their research The Psychology of Rumor<\/em> (1947) Allport and Postman “adopt the disease metaphor” characteristic of “spreading a rumour as viral”<\/a>[20<\/strong><\/span>]<\/sup><\/a> where research points to “powerful and potentially catastrophic results that rumours may have for individuals as well as groups”<\/a>[21<\/strong><\/span>]<\/sup><\/a>. Jody Enders<\/a>[22<\/strong><\/span>]<\/sup><\/a> notes that the medieval public had the possibility of “consuming fictional and non-fictional information in countless ways” \u2013 through religious sermons, royal announcements shouted by messengers on the streets, discussions by prosecutors and advocates on public trials and through medieval theatrical performances.<\/a>[23<\/strong><\/span>]<\/sup><\/a> The invention of the press and the democratization of literacy enabled different types of information to spread more quickly which finally led to the economical possibility and feasibility of writing and of selling information.<\/a>[24<\/strong><\/span>]<\/sup><\/a> In this analysis it is important to keep in mind the issue of power \u2013 the control of the production and dissemination of information is fundamental for maintaining the current order and the political, economic, social and cultural reality.<\/a>[25<\/strong><\/span>]<\/sup><\/a> The development of mass media (radio, television) in the 20th century enabled new ways of creating and disseminating news (both true and false), as well as the establishment of a new journalism ethics and professional code which required multiple verification of information before being published.<\/a>[26<\/strong><\/span>]<\/sup><\/a> The internet era and the development of digital technology have introduced us to completely new tools and ways to construct and disseminate false news and fabricated information.<\/a>[27<\/strong><\/span>]<\/sup><\/a> Li and Su note that in US media, fake news has related to “muckraking” and sensationalism since the late 19th century, but in the last two decades, the term has been used for “genres that mimic the style of traditional news” with the added use of “irony and humour”\u00a0 for the purposes of “implicit critique of politics and social subjects” (e.g. news satire and news parody).<\/a>[28<\/strong><\/span>]<\/sup><\/a> Fake and satirical “hoax websites” were first listed within the fun, parody or satire categories, and only later due to their content and motive became part of misinformation and misdirection.<\/a>[29<\/strong><\/span>]<\/sup><\/a>
    \n The popularity of the term “fake news” is related to the 2016 presidential election in the US, when Hillary Clinton started mentioning the concept of fake news in her campaign, while Trump increasingly used it in his tweets    <\/a>[30<\/strong><\/span>]<\/sup><\/a> when he attacked and accused mainstream media of hostility and sharing false information.<\/a>[31<\/strong><\/span>]<\/sup><\/a> One of the basic characteristics of the current information and media environment is the primacy of social media in disseminating information and the loss of monopoly held by traditional gatekeepers.<\/a>[32<\/strong><\/span>]<\/sup><\/a><\/p>\n

    One of the fundamental and important issues in analysing and researching fake news is the matter of precisely defining and classifying fake news. After selecting and analysing 52 research articles (among a total group of 419 articles), Baptista and Gradim<\/a>[33<\/strong><\/span>]<\/sup><\/a> developed a systematic and clear examination of the fake news phenomenon, that is, of its structure and virality, as well as the profile of consumers. The authors emphasize “epistemic problems” and the lack of a “univocal definition” as well as the different meanings of the concept of fake news.<\/a>[34<\/strong><\/span>]<\/sup><\/a> Baptista and Gradim for example refer to Habgood-Coote<\/a>[35<\/strong><\/span>]<\/sup><\/a>, who claims that the concept of fake news has no “stable meaning and changes depending on different contexts”, while Molina et al. cite Lazer et al. in their emphasis on the “importance of the process and intention” when conceptualizing fake news. They also quote Jack who compares fake news to\u00a0 other types of\u00a0 “problematic information” (ranging from disinformation to propaganda).<\/a>[36<\/strong><\/span>]<\/sup><\/a> In the context of clarifying the terminology of fake news, Molina et al. challenge the concept of fake news since the term “has become highly political”.<\/a>[37<\/strong><\/span>]<\/sup><\/a> It is also important to note that the European Commission report uses the term “disinformation”, and “covers a broader spectrum” of false information in various formats (memes, text manipulation) which deliberately aim to deceive.<\/a>[38<\/strong><\/span>]<\/sup><\/a> In recent years, an increasing number of authors have emphasized that “fake news” is a complex and ambivalent phenomenon which cannot be simplified and reduced to “false information.<\/a>[39<\/strong><\/span>]<\/sup><\/a> David De Coninck et al. (2021)<\/a>[40<\/strong><\/span>]<\/sup><\/a> consider fake news to be:<\/p>\n

      \n
    1. misinformation i.e., “publishing wrong information without meaning to be wrong or having a political purpose in communicating false information”;<\/span> <\/li>\n
    2. “disinformation (or conspiracy theories)” as defined by Benkler et al, deals with “manipulating and misleading people intentionally to achieve political ends”<\/a>[41<\/strong><\/span>]<\/sup><\/a>, or more specifically, according to Douglas et al, the goals of “disinformation and conspiracy theories” are to “explain the ultimate causes of significant social and political events and circumstances with claims of secret plots by two or more powerful actors”.<\/a>[42<\/strong><\/span>]<\/sup><\/a><\/span> <\/li>\n<\/ol>\n

      Li and Scott refer to Jaster and Lanius who define fake news as “news that does mischief with the truth in that it exhibits both (a) a lack of truth and (b) a lack of truthfulness”,<\/a>[43<\/strong><\/span>]<\/sup><\/a> while Wardle and Derakhshan note that fake news consists of 3 categories: misinformation \u2013 “information that is false, but it is believed to be true by individuals disseminating the news”, disinformation \u2013 “the intentional dissemination of information known to be false”, and mal-information \u2013 “the intentional use of true information to cause harm on a person, organization, or country”.<\/a>[44<\/strong><\/span>]<\/sup><\/a> For some authors rather, fake news is reduced to “an article that mimics the format of a news story or report, with fake content that was created with the intent to deceive”.<\/a>[45<\/strong><\/span>]<\/sup><\/a> Research shows that modern fake news most often spreads through social networks with the final goal of becoming viral \u2013 some authors note that fake news does not have to be entirely false.<\/a>[46<\/strong><\/span>]<\/sup><\/a> Based on analysed texts about fake news, Baptista and Gradim<\/a>[47<\/strong><\/span>]<\/sup><\/a> suggest the following definition of fake news:<\/p>\n

      “a type of online disinformation, with totally or partially false content, created intentionally to deceive and\/or manipulate a specific audience, through a format that imitates a news or report (\u2026) through false information that may or may not be associated with real events, with an opportunistic structure (title, image, content) to attract the readers’ attention and to persuade them to believe in falsehood, in order to obtain more clicks and shares, therefore, higher advertising revenue and\/or ideological gain”.<\/p>\n

      Considering the motivation of consumers and those who share texts with false information and disinformation, this happens for a variety of reasons: attention seeking, social approval, party and ideological beliefs, the wish to inform friends, have fun, create chaos etc.<\/a>[48<\/strong><\/span>]<\/sup><\/a> The issue of finding “who consumes fake news” has obviously been intriguing the scientific community in recent months and years. Research findings provide different types of answers. Some researchers<\/a>[49<\/strong><\/span>]<\/sup><\/a> <\/a>[50<\/strong><\/span>]<\/sup><\/a> note that the public that consumes fake news is “smaller than the real news audience”<\/a>[51<\/strong><\/span>]<\/sup><\/a>, but also that “the audience that consumes fake news is not only limited to filter bubbles and echo chambers”.<\/a>[52<\/strong><\/span>]<\/sup><\/a> Research shows that fake news is more often consumed (and shared) by the older population, those with a lower level of education, those with high levels of neuroticism and extroversion, those who no longer believe mainstream media, and supporters of extremist ideologies (both left- and right- wing).<\/a>[53<\/strong><\/span>]<\/sup><\/a> <\/a>[54<\/strong><\/span>]<\/sup><\/a> <\/a>[55<\/strong><\/span>]<\/sup><\/a> Campion-Vincent refers to Gladwell who states that “increased suspicion” of “legitimate sources of information”<\/a>[56<\/strong><\/span>]<\/sup><\/a> and distrust of traditional news media leads to a selective exposure to news<\/a>[57<\/strong><\/span>]<\/sup><\/a> and increases the use of alternative sources, such as digital media that distribute disinformation.<\/a>[58<\/strong><\/span>]<\/sup><\/a> <\/a>[59<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The research by Vosoughi, Roy and Aral<\/a>[60<\/strong><\/span>]<\/sup><\/a> <\/a>[61<\/strong><\/span>]<\/sup><\/a> on the spread of false and true news through Twitter in the period from 2006 to 2017 is important in this context. The classification of falsity or truth was based on using information from six fact-checking organizations (snopes.com, politifact.com, factcheck.org, truthorfiction.com, hoax-slayer.com, and urbanlegends.about.com).<\/a>[62<\/strong><\/span>]<\/sup><\/a> The research concluded the following: 1) fake news are shared “much further, faster, deeper and to a wider scope” than true news; 2) There is a 70% greater chance that fake news will be shared (retweeted); 3) fake news is perceived as more recent (which means that its truthfulness is not the most important); 4) people are the key factor in the spread of fake news \u2013 “robots accelerated the spread of true and false news at the same rate”.<\/a>[63<\/strong><\/span>]<\/sup><\/a><\/p>\n

       <\/strong><\/p>\n

      Fake news, conspiracy theories and COVID-19<\/strong><\/p>\n

      Since the beginning of the COVID-19 pandemic, scientists, politicians, the media, and other socially relevant actors have been warning about the spread and increased visibility of “other viral phenomena like misinformation, conspiracy theories, and general mass suspicions about what is really going on” regarding the pandemic.<\/a>[64<\/strong><\/span>]<\/sup><\/a><\/p>\n

      The World Health Organization (WHO) has recognized the emerging “infodemic” caused by the inflation of information (“including false or misleading information”)<\/a>[65<\/strong><\/span>]<\/sup><\/a> which circulate during the pandemic period throughout the digital and physical space, causing: 1) “confusion and risk-taking behaviours” that have or might have negative health consequences<\/a>[66<\/strong><\/span>]<\/sup><\/a>; 2) doubt towards and mistrust of health experts; 3) the undermining of healthcare measures and efforts to suppress the spread of COVID-19.<\/a>[67<\/strong><\/span>]<\/sup><\/a> Some dominant narratives shared by many fake news and conspiracy theories claim that the coronavirus has been caused by 5G technology or that Bill Gates is manipulating the coronavirus in order to gain control over humanity through global vaccinations and surveillance using microchips.<\/a>[68<\/strong><\/span>]<\/sup><\/a> Even though these narratives have been publicly exposed as untrue and as misinformation, fake news and narratives based on conspiracy theories continue to circulate the public arena and may have serious consequences.<\/a>[69<\/strong><\/span>]<\/sup><\/a> In the UK for example, technicians and British Telecom engineers were attacked by supporters of ideas generally equated to conspiracy theories<\/a>[70<\/strong><\/span>]<\/sup><\/a>. Vincent notes that most incidents may be “classified as harassment” (e.g., name-calling, death threats etc.), but there were even more violent attacks that endangered the physical integrity of the employees.<\/a>[71<\/strong><\/span>]<\/sup><\/a> According to data by Mobile UK, in 2020 from the end of March to the beginning of June “there were more than 200 incidents of abuse against telecoms engineers and more than 90 arson attacks” planted on mobile infrastructure.<\/a>[72<\/strong><\/span>]<\/sup><\/a><\/p>\n

      In addition to violent incidents and destruction of mobile infrastructure, fake news, misinformation and conspiracy theories related to COVID-19 have a range of other sociological and health-related consequences: stigmatization and discrimination; suspicion and\/or reduced trust in government institutions and health authorities; not following prescribed preventive measures (e.g. the refusal to wear a mask in a public space, not keeping the physical\/social distance etc.); consuming medically unapproved concoctions marketed and promoted through social networks as preventive measures against the coronavirus and\/or medicine in case of disease (e.g. many people consumed highly concentrated alcohol [methanol] in the belief this would disinfect their bodies and kill the virus, which resulted in deaths, hospitalizations and complete blindness).<\/a>[73<\/strong><\/span>]<\/sup><\/a> Recent cases related to COVID-19 as well as misinformation created and disseminated in the pre-pandemic period, reveal that fake news, misinformation and conspiracy theories are not merely virtual phenomena, but can also have\u00a0 very concrete individual and collective consequences, which is why they need to be researched and analysed in the socio-cultural, historical, economic and political context.<\/a>[74<\/strong><\/span>]<\/sup><\/a><\/p>\n

      In their study “Types, Sources, and Claims of COVID-19 Misinformation”, Brennen et al.<\/a>[75<\/strong><\/span>]<\/sup><\/a> formed “an inductive typology of statements shared as part of COVID-19 misinformation” (partially cited in the original format):<\/p>\n

       <\/p>\n

      Table 1: “Inductive typology of claims made within pieces of COVID-19-related misinformation” (Brennen et al. 2020, p. 11)<\/em><\/p>\n\n\n\n\n\n\n\n\n\n\n\n
      \n

      Type<\/strong><\/p>\n<\/td>\n

      		\n

      Description<\/strong><\/p>\n<\/td>\n<\/tr>\n

      \n

      Public authority action\/policy<\/p>\n<\/td>\n

      		\n

      Claims about state policy\/action\/communication, claims about WHO guidelines and recommendations, etc.<\/p>\n<\/td>\n<\/tr>\n

      \n

      Community spread<\/p>\n<\/td>\n

      		\n

      Claims about:
      \n the international\/national\/local spread of the virus
      \n people\/groups\/individuals involved\/infected<\/p>\n<\/td>\n<\/tr>\n

      \n

      General medical advice and virus characteristics <\/p>\n<\/td>\n

      		\n

      Health remedies, self-diagnostics, effects and signs of the disease, etc.<\/p>\n<\/td>\n<\/tr>\n

      \n

      Prominent actors<\/p>\n<\/td>\n

      		\n

      Claims about:
      \n pharmacy companies or drugs manufacturers,
      \n companies supplying the health care sector or other supplying companies,
      \n famous people, celebrities that were infected,
      \n the statements and actions of politicians (but not if the misinformation is coming from politicians or other famous people).<\/p>\n<\/td>\n<\/tr>\n

      \n

      Conspiracies<\/p>\n<\/td>\n

      		\n

      Claims about:
      \n the virus being a biological weapon,
      \n the person supposedly behind the pandemic
      \n the pandemic being predicted<\/p>\n<\/td>\n<\/tr>\n

      \n

      Virus transmission <\/p>\n<\/td>\n

      		\n

      Claims about:
      \n how the virus is transmitted and how to stop the transmission, including protection measures (e.g., cleaning, protective gear etc.)<\/p>\n<\/td>\n<\/tr>\n

      \n

      Explanation of virus origins<\/p>\n<\/td>\n

      		\n

      Claims about:
      \n where and how the virus originated (e.g., in animals),
      \n properties of the virus<\/p>\n<\/td>\n<\/tr>\n

      \n

      Public preparedness<\/p>\n<\/td>\n

      		\n

      (Normative) claims about:
      \n hoarding, buying supplies, social distancing, (non-)adherence to measures, etc. <\/p>\n<\/td>\n<\/tr>\n

      \n

      Vaccine development and availability<\/p>\n<\/td>\n

      		\n

      Claims about:
      \n the vaccine, its development and availability <\/p>\n<\/td>\n<\/tr>\n<\/table>\n

       <\/p>\n

      The pandemic caused by the COVID-19 virus intensified processes already observed in previous decades. In a text published in 2005, Jean-Bruno Renard<\/a>[76<\/strong><\/span>]<\/sup><\/a> wrote on rumours (“unverified news”) and made the distinction between “assertive rumours” that “support the reality of invented facts” and “negatory rumours” which “negate the reality of recognized facts”.<\/a>[77<\/strong><\/span>]<\/sup><\/a> He then presented the “typical characteristics of negatory rumours”:<\/a>[78<\/strong><\/span>]<\/sup><\/a> 1) “hypercritical thought” (real events are seen as rumours); 2) “revealing another reality”, that is, the denied reality is supplanted by a new reality (e.g. the Earth is not round, the Earth is flat)<\/a>[79<\/strong><\/span>]<\/sup><\/a>; 3) revealing the conspiracy and believing in another reality hidden from the entire world, which includes a specific secret plan of an organized “evil” group that holds power over the media (e.g. the CIA, the Masons, the Jews), which is why conspiracists “frequently use the expression ‘official truth’”, which to them is a synonym for a lie, opposed to the truth they are uncovering.<\/a>[80<\/strong><\/span>]<\/sup><\/a> Renard concludes that negatory rumours as well as conspiracy ideas will gain increased visibility and space on the information market in the future, due to the following:<\/p>\n

        \n
      1. acceptance of “cognitive relativism” (analysed by Boudon) and the idea that knowledge is “neither objective nor definitive”, which encourages support for “alternatives to generally accepted knowledge”;<\/a>[81<\/strong><\/span>]<\/sup><\/a><\/span> <\/li>\n
      2. exposure of government scandals and news coverage on suspicious facts, which increases public distrust of official media and news;<\/a>[82<\/strong><\/span>]<\/sup><\/a><\/span> <\/li>\n
      3. increased number of groups in which negatory rumours are created and shared (e.g., more than 50% Americans believe in at least one conspiracy<\/a>[83<\/strong><\/span>]<\/sup><\/a>);<\/span> <\/li>\n
      4. complete immersion in “a world where reality and its simulacrum, truth and lies, become increasingly confusing”, a world that combines “real and synthetic imaginaries”<\/a>[84<\/strong><\/span>]<\/sup><\/a>, and the line between fiction and truth, true information and fake news, or between public and private and between man and machine, become more fluid and porous.<\/a>[85<\/strong><\/span>]<\/sup><\/a>\u00a0<\/span> <\/li>\n<\/ol>\n

         <\/strong><\/p>\n

        Celebrities and fake news in the new communication environment <\/strong><\/p>\n

        The new communication environment and the role and significance of fake news may be analysed through the phenomenon of celebrities. This is in line with the statement by Fred Inglis in his book A Short History of Celebrity<\/em>, that celebrities are “a product of culture and technology”.<\/a>[86<\/strong><\/span>]<\/sup><\/a> Rojek’s influential study Celebrity<\/em> (2001)<\/a>[87<\/strong><\/span>]<\/sup><\/a> also shows that “mass media representation (\u2026) is the key principle in the formation of celebrity culture”, and celebrities as a socio-cultural phenomenon represent famous individuals, extremely popular in the field of their work (such as film, music, sports, politics, modelling etc.).<\/a>[88<\/strong><\/span>]<\/sup><\/a> The celebrity embodies and represents a complex combination of “intensive familiarity”, “recognizability”, “holiness”, “distance” and “remoteness”.<\/a>[89<\/strong><\/span>]<\/sup><\/a> Redmond sees fame as an “ambivalent and dominant cultural phenomenon, a meta-discourse” which in various ways shapes the “social and everyday life of many”<\/a>[90<\/strong><\/span>]<\/sup><\/a>, with fame culture offering a specific experience of intimacy. In recent decades, celebrities have appeared as a specific “type of social authority for different social groups”, and “their words, actions and messages are effective”.<\/a>[91<\/strong><\/span>]<\/sup><\/a> Precisely because of their familiarity, reputation, authority and influence on others, celebrities have a “significant role (positive, negative, ambivalent) in different crises”.<\/a>[92<\/strong><\/span>]<\/sup><\/a> Of course, this type of engagement has also been analysed from a critical perspective in research literature, noting the problems and short-term effects inherent in this type of engagement.<\/a>[93<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Kami\u0144ski, Szyma\u0144ska and Nowak researched whose tweets about COVID-19 attracted the most attention<\/a>[94<\/strong><\/span>]<\/sup><\/a>, and discovered that “celebrities and politicians posted positive messages”, while “scientific and health authorities often employed a negative vocabulary” \u2013 “the posts with positive sentiment gained more likes and relative likes than nonpositive ones”.<\/a>[95<\/strong><\/span>]<\/sup><\/a> Based on this data, Kami\u0144ski, Szyma\u0144ska and Nowak conclude that “during the pandemic, the tweets of celebrities and politicians related to COVID-19 outperform those coming from health and scientific institutions”.<\/a>[96<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Commenting on the “obsession with fame” in the pandemic context for The Guardian<\/em>, Rojek notes that in the modern world, “celebrities are rated more than politicians” because people consider them to be more “real”.<\/a>[97<\/strong><\/span>]<\/sup><\/a> Social networks (Facebook, Instagram, Twitter) have enabled a greater degree of intimacy with celebrities than ever before, who every day share “stories about their lives” with a numerous audience, thus creating profitable relationships.<\/a>[98<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Analysing the problem of celebrities in the context of fake news (and conspiracy theories), what becomes evident is their contradictory, flexible and dynamic position \u2013 on the one hand, a celebrity can be a subject around whom fake news and rumours are (re)constructed, while on the other the celebrity may figure as a “superspreader” of fake news and misinformation. A case in point is Madonna, the globally celebrated musician, whose career has from the beginning been marked by a series of controversies, contradictory messages and polarized reactions.<\/a>[99<\/strong><\/span>]<\/sup><\/a> <\/a>[100<\/strong><\/span>]<\/sup><\/a> The journalist Rachel Kiley<\/a>[101<\/strong><\/span>]<\/sup><\/a> writes about interpretations by online commenters who quoted familiar motifs and narratives of globally popular conspiracy theories to claim that Madonna “predicted” the pandemic scenario during her performance at Eurosong 2019 in Tel Aviv. This is explained by the fact that her dancers wore masks, while the crown she wore was reminiscent of the coronavirus symbol. The performance itself was proclaimed to be a satanic ritual with Madonna being accused of witchcraft (e.g., “Madonna is a high-level illuminati member. She performs a satanic ritual [\u2026] She already knew about the coronavirus in 2019. Don’t you see it is obvious this virus pandemic is known to these people at that time because it is artificial not natural” etc.). In July 2020 she sparked controversy with an Instagram post perpetuating fake news and conspiracy ideas that the cure for coronavirus already exists (in the form of hydroxychloroquine), but the elites are hiding it in order to control people through fear.<\/a>[102<\/strong><\/span>]<\/sup><\/a> She also promoted Stella Immanuel, a doctor and Christian pastor, one of the main promoters of hydroxychloroquine,<\/a>[103<\/strong><\/span>]<\/sup><\/a> a drug whose efficacy in treating COVID-19 has not been proven.<\/a>[104<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Although Madonna’s video was erased by Instagram administrators after being online for one hour and thirty minutes, with the explanation that fact-checkers identified the video as false information, the Instagram post became news in mainstream media. A year earlier, Madonna was accused of being a member of an elite group that had all the information on the emergence of a global pandemic, while owing to an Instagram post about a drug kept secret by the elites as they implement population control, she was then labelled in the public arena as a spreader of fake news. Her post also drew criticism from some of her followers (especially after she reposted it), accusing her of “spreading lies and quackery” (“MADONNA!!! Again?! This is wrong! You have influence and a voice and you’re spreading falsehood and quackery. Inform yourself! Or, as you say, WAKE UP!!!“).<\/a>[105<\/strong><\/span>]<\/sup><\/a> This wasn’t the only controversial post by Madonna during the pandemic period. In March 2020 CNN shared the news (also originating from Madonna’s Instagram profile) in which the star said: “That’s the thing about Covid-19 (\u2026) It doesn’t care about how rich you are, how famous you are, how funny you are, how smart you are, where you live, how old you are, what amazing stories you can tell (\u2026) It’s the great equalizer and what’s terrible about it is what’s great about it.”<\/a>[106<\/strong><\/span>]<\/sup><\/a> This statement also caused negative comments by her followers who stressed the importance of class and social differences which became even more pronounced in the context of the pandemic: “Sorry my queen, love u so much, but we’re not equal. We can die from the same diseases, but the poor will suffer the most. Do not romanticise nothing of this tragedy.”<\/a>[107<\/strong><\/span>]<\/sup><\/a> Rojek notes that false familiarity and para-intimacy were brought into question during lockdown when celebrities (like Madonna) created and sent messages about the pandemic while they resided at luxurious estates and glamorous places, which emphasized the fact they were “untouchable” and privileged, as well as the insurmountable differences of status and class.<\/a>[108<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Li and Scott analyse the spread of fake news using the example of footballer Wu Lei to show how a celebrity “becomes a subject” of misinformation disseminated in the media.<\/a>[109<\/strong><\/span>]<\/sup><\/a> On 20 March 2020 the Spanish La Liga club RCD Espanyol confirmed that six players tested positive for COVID-19, Wu Lei among them. This soon became big news on Weibo, the Chinese version of Twitter. Four days later, on 24 March 2020, the Chinese digital news application Red Star News shared the news that Wu had recovered from COVID-19 and his test result was now negative. Wu’s team soon spoke up and denied a series of news in the Spanish media on Wu Lei’s diagnosis, state, recovery etc. After two days the confusion increased after Wu Lei stated he had not recovered and could not be tested again due to a shortage of tests.<\/a>[110<\/strong><\/span>]<\/sup><\/a> This is just one of the many examples of how Chinese (but also other global and national) media and social networks generate a great number of stories, news and rumours based on un\/reliable sources.<\/p>\n

        Although celebrities have a significant role in spreading fake news, misinformation and conspiracy theories, there has not been much research on the “influence of celebrities on the behaviour of ordinary people during the COVID-19 crisis.<\/a>[111<\/strong><\/span>]<\/sup><\/a> In addition to Madonna who keeps confusing the public and attracting attention through the already identified mechanism of combining contradictory messages, some celebrities disseminate posts with fake news and misinformation, which are then shared by mainstream media as news, while other celebrities, in cooperation with famous organizations or of their own accord, share official information approved by public health authorities and support official government\/public health campaigns related to COVID-19. Research by Bruns, Harrington and Hurcombe has shown that celebrities are “super-spreaders” of conspiracy theories and fake news because they have the power to make certain information go viral very quickly.<\/a>[112<\/strong><\/span>]<\/sup><\/a><\/p>\n

         <\/strong><\/p>\n

        Methodology<\/strong><\/p>\n

        The focus of this qualitative discourse analysis are texts published on two web portals active in Croatia (24 sata.hr<\/em>, index.hr<\/em>), about celebrities that publicly shared (mainly on social media) controversial posts about COVID-19 or reacted to the spread of false information on the pandemic and appealed for responsibility. This 1) points to the power and visibility of celebrities and 2) illustrates the circulation of information and misinformation in the context of the new hybrid media and communication system.<\/p>\n

        Topi\u0107 and Gilmer note that qualitative discourse analysis is the “type of analysis that can expose media bias and basic assumptions in media texts”, and highlight Smith’s conclusion that “knowledge of contemporary society is to a large extent mediated (\u2026) through text”.<\/a>[113<\/strong><\/span>]<\/sup><\/a> Chigona et al. emphasize the importance of interdisciplinary understanding of media discourse as it “contributes to shaping social reality”.<\/a>[114<\/strong><\/span>]<\/sup><\/a> That is, “the media does not only influence the content and what their readers are reading”, but also the readers’ perception, opinions, ideologies etc.<\/a>[115<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The following analysis is based on texts published on portals in Croatia, 24 sata.hr<\/em> and index.hr<\/em>. Texts published in the period between 1 February 2020 and 24 June 2021 were searched for these key words:<\/p>\n

        A)    <\/span><\/span><\/span><\/b>First round of research:<\/o:p><\/span><\/b><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, conspiracy
        \ntheories, coronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, conspiracy
        \ntheories, Covid-19<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities, conspiracy
        \ntheories, coronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities, conspiracy
        \ntheories, Covid-19<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, misinformation,
        \ncoronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, misinformation,
        \nCovid-19<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities, misinformation,
        \ncoronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities,
        \nmisinformation, Covid-19<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, fake news,
        \ncoronavirus\u00a0 <\/span><\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>famous, fake news,
        \nCovid-19\u00a0 <\/span><\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities, fake news,
        \ncoronavirus\u00a0 <\/span><\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>celebrities, fake news,
        \nCovid-19\u00a0 <\/span><\/o:p><\/span><\/p>\n

         <\/p>\n

        B)    <\/span><\/span><\/span><\/b>Second round of research:<\/o:p><\/span><\/b><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>fake news, coronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>fake news, coronavirus<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>COVID-19, misinformation<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>Coronavirus,
        \nmisinformation<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>COVID-19, conspiracy
        \ntheories<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>COVID-19, conspiracy
        \ntheories<\/o:p><\/span><\/p>\n

        \u00fc 
        \n<\/span><\/span><\/span>Coronavirus, conspiracy theories <\/span><\/p>\n

         <\/p>\n

        Based on these keywords used to search the archive of portals index.hr<\/em> and 24 sata.hr<\/em>, a total of 33 articles were found \u2013 seven articles in the first search round (1 article on index.hr<\/em> and 6 articles on 24 sata.hr<\/em>), while the second search round yielded 26 articles (7 articles on 24 sata,hr<\/em>; 19 articles on index.hr<\/em>).<\/p>\n

        Celebrities discussed in news articles on conspiracy theories and fake news come from the field of sports, the music and film industry, politics, business and social networks (influencers on social networks\/micro-influencers). Some texts were taken from multiple sources in foreign media and published on both portals, and some information was published multiple times. <\/p>\n

        The texts were copied into a Word document, and all authors of the paper participated in the reading, analysis, analysis comparison and discussion.\u00a0\u00a0\u00a0\u00a0\u00a0 <\/p>\n

        Critical discourse analysis was the method used in analysing the texts. This method is used when researchers aim to identify the main discourses repeated in the written text. The main discourses are in this sense, key arguments that can be inferred from the text, i.e. the discursive topoi, and written language is seen as an agent of social change.<\/a>[116<\/strong><\/span>]<\/sup><\/a> <\/a>[117<\/strong><\/span>]<\/sup><\/a> <\/a>[118<\/strong><\/span>]<\/sup><\/a> In terms of the main argument (topos<\/em>\/topoi<\/em>) to be inferred from the text, Grue refers to Wodak and Meyer who state that topical analysis<\/em> enables us to discover hidden meanings of an argument, through which topoi<\/em> become part of the argumentation belonging to obligatory, explicit or implicit meaning.<\/a>[119<\/strong><\/span>]<\/sup><\/a> Topos “justifies the line of argument but requires less justification” because it is rooted in “general views”, while topoi relates less to words and more to concepts.<\/a>[120<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Discourse analysis is appropriate for this paper because it also enables a text analysis within social circumstances, both locally and globally. This approach is also known as a discourse historical approach, which Reisigl and Wodak define as part of a critical discourse analysis in which the analysis is based on examining persons, processes and actions as well as characteristics and attributes given to social actors, objects and processes.<\/a>[121<\/strong><\/span>]<\/sup><\/a> Moreover, this type of analysis is based on researching arguments used in every identified discourse. Finally, the analysis is based on researching the perspective from which the attributions and arguments that make up the discourse have come from.\u00a0\u00a0\u00a0\u00a0\u00a0 <\/p>\n

        This approach is also useful for researching media discourse, under analysis in this text, as it enables understanding media discourse in the wider social ecosystem and a clear identification of arguments and their meanings.<\/p>\n

         <\/strong><\/p>\n

        Research results<\/strong><\/p>\n

        Analysis of newspaper articles identified two dominant discourses, the conspiracy theory discourse and practices of resistance <\/strong>on the one hand, and a positive discourse confirming and approving trust in science and social responsibility <\/strong>on the other. In each analysed article these two discourses were opposed or confirmed by sub-discourses: the negative discourse with the following sub-discourses: conspiracy theories, resistance, danger, irresponsibility and sanctioning<\/em>, and the positive discourse by these sub-discourses: science<\/em>, responsibility<\/em>, use of visibility for the common good<\/em>, supporting prevention and active fight against conspiracy theories and pseudoscience.<\/em><\/p>\n

         <\/strong><\/p>\n

        Conspiracy theories and practices of resistance<\/em><\/strong><\/p>\n

        Conspiracy theories disseminated publicly by celebrities relate to a range of scientifically unfounded and contradictory beliefs, ranging from negating and expressing doubts about the existence of the pandemic to playing down the dangers of COVID-19, and statements that: 1) coronavirus is related to the 5G network, which has a negative impact on human health (e.g. “Covid-19 is caused by 5G network radiation”, “5G network increases coronavirus symptoms”, symptoms of 5G exposure are “the same as the symptoms of the coronavirus”, “5G was launched in China in November 2019”, and “what we are witnessing now is the effect of radiation”, 5G is “very, very harmful for human health”); 2) the pandemic or “plandemic” is an artificially created crisis manipulated by powerful people (“rulers of the world” or a “shadow government” \u2013 the general public does not know who they are because they rank higher than Rothschild and Rockefeller) with the aim of controlling the global population through mandatory public healthcare measures such as lockdowns or vaccinations (e.g. the coronavirus is just an overture to implementing the plan of those in power who wish to control people through the use of microchips).<\/p>\n

        Vaccination is labelled by some celebrities as microchipping with the aim of population control, implemented by powerful world players, with special emphasis given to the role and involvement of Bill Gates. Besides global control, some celebrities disseminated conspiracy ideas on the “real” political causes of pandemics \u2013 destabilizing USA and overthrowing the (now already former) US president Donald Trump, or the global geopolitical power of China.<\/p>\n

        In the context of advocating conspiracy theories, famous “conspiracy theorists” like David Icke are praised, and conspiracy theories on COVID-19 are linked to other world-famous conspiracy theories disseminated on social media (e.g. Bill Gates as a eugenicist, or Pizzagate).<\/p>\n

        All posts have a generally critical view of the system, politicians, elites, the pharmaceutical industry, truth-checkers<\/em>, and the mainstream which, as celebrities claim, silence, manipulate and censor opposing views (e.g., the media pays celebrities to lie that they have covid). As a resistance tactic, celebrities send public appeals for signing petitions against implementing the 5G network, for rejecting preventive measures (wearing masks, quarantine, vaccination, PCR tests) and guidelines prescribed by governments and public health authorities.<\/p>\n

        In addition to expressing a negative attitude towards people who accept information disseminated through the mainstream media (with the often use of the label “sheep”), the focus is on “thinking for yourself” regardless of not being in line with the content and attitudes of mainstream messages. The focus in general is on individual, not group responsibility.<\/p>\n

        Contrary to scientific recommendations of prevention, alternative medicine is promoted, as well as practices\/beliefs developed in alternative\/New Age spirituality (e.g., being in a good mood, blessings, meditation, prayer as the best prevention against the virus), consuming “magic medicine” (such as lemon, baking soda, tepid water) or scientifically disproved medicine like hydroxychloroquine and azithromycin. It should be noted that some celebrities express selective trust in science and scientists, that is, scientists whose opinion on COVID-19 is not in line with views of the scientific establishment are supported (e.g., Didier Raoult \u2013 “the virus can be treated with hydroxychloroquine and the antibiotic azithromycin, also known as Sumamed. Why did they give up on this? Because hydroxychloroquine and azithromycin are very cheap”).<\/p>\n

        Texts on the analysed portals identify the Internet and social media as spaces for creating and disseminating conspiracy theories, with celebrities most often using Instagram, Twitter, YouTube and Facebook for these types of messages. Each article sharing the news on the spread of misinformation and conspiracy theories related to the current pandemic, has a specific structure pointing to a correlation between negative and positive discourse: after stating something considered to be a misinformation, completely opposite to epidemiological measures, it is presented critically and denied by quoting scientific authorities (the views of prominent scientists, scientific studies [Oxford University] or sharing official statistics (Our World in data, Eurostat, Croatian Bureau of Statistics). Journalists of index.hr<\/em> here use disqualifying expressions for: 1) conspiracy and negatory statements, such as: idiocy, stupidity, nonsense, bizarre, stupid, dangerous ignorance etc.; 2) their promoters are labelled as uninformed and malevolent individuals; 3) consumers of misinformation are qualified as “ignorant people” who uncritically adopt unfounded ideas and statements.<\/p>\n

        Analysis shows that “dangerous” is the most commonly used attribute for disqualifying and warning against negative consequences of a particular conspiracy or antivaxxer idea (dangerous video, dangerous conspiracy theory, dangerous trend, dangerous lies, dangerous ignorance etc.). Texts published on the portal index.hr<\/em> are characterized by comparing the scientific and non-scientific discourse, alongside constructing the distinction between “real” science and “bad” science i.e., pseudoscience and pseudoscientists, whose careers in science and scientific works are analysed and subjected to devaluating critique. <\/p>\n

        Celebrities who take the position of “non-licensed experts” in this pandemic context are also criticised, with emphasis given to their significant influence due to their popularity, visibility and scope of influence. Since they have millions of followers on social networks, celebrities have a “huge reach” so their public responsibility is highlighted in particular if they choose to create or spread misinformation. In order to emphasize the important role that celebrities have in disseminating misinformation and rumours, one research by Oxford University is emphasized, which shows that “celebrities are responsible for approximately one fifth of all misinformation on the coronavirus”, while research by Cornell University points to Donald Trump as the greatest instigator of lies on the coronavirus.<\/a>[122<\/strong><\/span>]<\/sup><\/a><\/p>\n

        For celebrities, sharing theories and misinformation is in most cases related to negative consequences and non-formal and\/or formal sanctions that have a more or less significant impact on their public image and career. For example, it has been emphasized that a celebrity promoting conspiracy theories provokes controversy for the general public and even for some followers of this celebrity, with a flood\/avalanche of comments, vehement condemnation by the media, criticism, negative media representation and closing down of user accounts. YouTube closed down David Icke’s account, Facebook removed a video on the coronavirus posted by Donald Trump in which he claims that children are “practically immune to Covid-19”, with the explanation that “it violates company rules against the spread of misinformation on the coronavirus” and Instagram censored Madonna for spreading false information on the alleged medicine for the coronavirus etc. Due to negative reactions and bad publicity, some celebrities erased tweets they had shared on the coronavirus, following a direct order by their publishing house or label, while others had their professional collaborations cancelled and contracts terminated. For example, the publishing house Fraktura publicly cancelled their partnership with the blogger Alison Mari\u0107 because of her Facebook posts on the coronavirus and refusal to wear a mask in a public space, while the famous Australian chef Pete Evans was kicked out of the new season of a popular culinary show. <\/p>\n

         <\/p>\n

        Trust in science and the responsibility of celebrities <\/em><\/strong><\/p>\n

        Diametrically opposed to the conspiracy theory discourse and irresponsibility of celebrities, is the positive discourse of affirming trust in science and social responsibility. This discourse primarily functions through denying the negative discourse and pointing to its falseness and destructive consequences of its spread:<\/p>\n

        “Although numerous scientists have confirmed that the 5G network is completely unrelated to the spread of the coronavirus, conspiracy theorists beg to differ.”<\/a>[123<\/strong><\/span>]<\/sup><\/a><\/p>\n

        “Exactly how Hawkins discovered mood vibrations and the virus mentioned by Mari\u0107, cannot be inferred from the texts published on the Veritas Publishing webpage. It should be noted that nowhere in scientific literature can it be found that people vibrate, nor is it explained what this should mean in the context of health and health policy. One thing is certain, Hawkins couldn’t have written anything on the vibration of the SARS-CoV-2 virus because he died in 2012. It should also be noted that during his life he never published a scientific work in which he explained the mechanism of destroying the virus through vibrations, or the moods apparently created through them.”<\/a>[124<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The context of positive discourse affirms individuals disqualified in the conspiracy theory context, such as Bill Gates who is presented as one of the “leading world humanitarians”, or Tom Hanks, who, after posting on the importance of wearing masks and following prevention measures, was accused of paedophilia by members of the anonymous online audience, owing to his friendship with Jeffrey Epstein.<\/p>\n

        The authority of science and scientists as key actors in the efficient prevention of the spread of the coronavirus is also built up, despite current limitations of science due to incomplete knowledge and partial evidence on the mechanisms of how the virus spreads. This is why we are in a state of an “infodemic”, which carries with it a sense of coercion \u2013 we are forced to “swim in a sea of misinformation”. The pandemic is labelled as a “serious healthcare matter” which is why scientific expertise and recommendations are emphasized \u2013 only experts can have real knowledge on the current pandemic, and “all we can do is follow the advice of experts who claim there is no cure”.<\/p>\n

        As it has already been said, ideas coming from the conspiracy theory catalogue, the misinformation and the fake news, are critically examined and deconstructed by questioning their sources, quoting scientific research and established scientific authorities, pointing to mistakes in building the argument and wrong interpretations of scientific facts, insisting on a scientific way of thinking (for individuals who are not scientists by profession), with a clear distinction being made between “real” scientists and “bad”\/”problematic” scientists (especially regarding vaccination). In this context, texts published on index.hr<\/em> transfer scientific discourse into the public and news item domain and there is an insistence on the scientific way of thinking for everyone \u2013 including people who do not work in science):<\/p>\n

        “We insisted this wasn’t a scientific way of thinking because benefits from wearing a mask cannot be based on the type of evidence known in science as anecdotal, practically with no real value. The fact that a grandma of your acquaintance lived to be a hundred even though she smoked, does not mean that smoking is healthy!”<\/a>[125<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The responsibility sub-discourse focuses on social responsibility of celebrities, which comes primarily from their visibility and general familiarity. In the context of insisting on following epidemiological measures, ranging from wearing masks to the insistence on having faith in the vaccine, positive examples include celebrities who use the public arena to appeal for following epidemiological measures, those who follow preventive measures, publicly share narratives on personal experience with the disease and actively participate in the fight against misinformation. Angelina Jolie for instance produced a programme on the coronavirus for teenagers in collaboration with the BBC, shared through the BBC YouTube channel, with advice on recognizing misinformation, on online schooling and youth experience during the pandemic crisis.<\/p>\n

        Alongside emphasizing positive examples of celebrities who actively take part in the fight against conspiracy theories and misinformation, and affirm officially prescribed prevention measures, alternative medicine is explicitly criticised, its consumerist, commodifying and profit-oriented aspects as well as the wellness industry. More precisely, unverified tests and ads for preparations such as essential oil, colloid silver, vitamins marketed as cures for the coronavirus or immunity boosters are all criticized. While supporters of the negative discourse accuse large pharmaceutical companies promoted by the media for “profiting from diseases”, supporters of the positive discourse accuse companies in the wellness industry for profiting from “fear and panic”, noting that the pandemic has opened up a new market niche “for all kinds of scammers”.<\/p>\n

         <\/strong><\/p>\n

        In conclusion<\/strong><\/p>\n

        Due to their visibility and familiarity, celebrities as a socio-cultural phenomenon figure as social authorities with an enormous influence on different audiences and therefore have a significant role during the COVID-19 crisis. They take different positions in this “new hybrid ecosystem” (Wheeler), either promoting the discourse of conspiracy theories and fake news or supporting the mainstream discourse based on science and social responsibility. The new hybrid ecosystem functions as a network in which different actors participate, and information disseminated in the virtual media world may have, and often do have, real consequences, for the disseminators as well as the consumers of different information.<\/p>\n

        Findings of this research reveal that the media try to appear as fighters for true information and science, especially visible in the labels given to those who deny scientific research and opinions by scientists. This shows that traditional media react to fake news posted on social networks i.e., it seems that the new hybrid ecosystem functions in such a way that traditional and mainstream media are engaged in refuting fake news on social media. Not only is the public engaged in consuming news through social and traditional\/mainstream media, but traditional media are also powerfully engaged, as noted by Wheeler, but they also add a clear estimation of the situation and try to refute false information.<\/a>[126<\/strong><\/span>]<\/sup><\/a> However, equally important is the fact that this research can also support the thesis that traditional media in a way help disseminate false information because they report on the posts and tweets of celebrities, who often share or encourage the use of false information.<\/a>[127<\/strong><\/span>]<\/sup><\/a><\/p>\n

         <\/strong><\/p>\n

        Note on the text:<\/strong><\/p>\n

        This paper is based on a lecture presented under the same title at the international interdisciplinary symposium Filozofijska misao u vremenu fake newsa, govora mr\u017enje, infodemije, manipuliranja i neslobode medija<\/em> (Philosophical thought in the era of fake news, hate speech, infodemic, manipulation and lack of freedom for the media) (2021), and has been developed as part of a project implemented by the Ivo Pilar Social Sciences Institute in Zagreb,\u00a0 “Tijelo, zdravlje, prevencija: Medijski konstruirani diskursi i \u017eivljene kulture u doba novih ‘bio-realiteta’” (Body, health, prevention: Media-constructed discourses and living cultures in times of new ‘bio-realities’<\/em>).<\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[1<\/strong><\/span>]<\/sup><\/a> 
        \nSandra Gonzalez “Tom Hanks and Rita Wilson diagnosed with coronavirus”, CNN Entertainment<\/em>, 12 March 2020,         https:\/\/edition.cnn.com\/2020\/03\/11\/entertainment\/tom-hanks-rita-wilson-coronavirus\/index.html<\/a> Accessed: 15 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[2<\/strong><\/span>]<\/sup><\/a> 
        \nSonia Rao, Bethonie Butler and J. Freedom du Lac “Tom Hanks and Rita Wilson have tested positive for coronavirus”, The Washington Post<\/em>, 12 March 2021,         https:\/\/www.washingtonpost.com\/arts-entertainment\/2020\/03\/11\/tom-hanks-coronavirus-rita-wilson\/<\/a>Accessed: 15 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[3<\/strong><\/span>]<\/sup><\/a> 
        \nAnonymous “Tom Hanks coronavirus: Actor and wife Rita Wilson test positive”, BBC<\/em>, 12 March 2020,          https:\/\/www.bbc.com\/news\/world-australia-51847198<\/a> Accessed: 15 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[4<\/strong><\/span>]<\/sup><\/a> 
        \nNicole Sperling “Tom Hanks Says He Has Coronavirus”, the New York Times<\/em>, 17 March 2020,         https:\/\/www.nytimes.com\/2020\/03\/11\/business\/media\/tom-hanks-coronavirus.html<\/a> Accessed: 15 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[5<\/strong><\/span>]<\/sup><\/a> 
        \nMark Wheeler, “Celebrity politics in the fake news age”, in A Carter-Ruck Report: Fake News \u2013 Authentic Views<\/em>, pp. 31-34,         https:\/\/www.carter-ruck.com\/insight\/fakes-news-authentic-views\/celebrity-politics-in-the-fake-news-age\/<\/a> Accessed: 25 August 2020. Quoted line on p. 31.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[6<\/strong><\/span>]<\/sup><\/a> 
        \nM. Wheeler, “Celebrity politics in the fake news age”, p. 31.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[7<\/strong><\/span>]<\/sup><\/a> 
        \nBaptista and Gradim quote Gragnani who notes that in the 2018 election in Brazil, WhatsApp “was the most used tool to spread fake news”, which means that in Brazil, WhatsApp is not only a messaging app, but is also used as a social network “that can influence political ideologies” (Gragnani cited in Baptista and Gradim 2020, p. 5). See: Jo\u00e3o Pedro Baptista and Anabela Gradim, “Understanding Fake News Consumption: A Review”, Social Sciences<\/em>  MDPI, 9(10\/2020), pp. 1-22,         https:\/\/ideas.repec.org\/a\/gam\/jscscx\/v9y2020i10p185-d429198.html<\/a> Accessed: 22 August 2020.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[8<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A, Gradim, “Understanding Fake News Consumption: A Review”, p. 5.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[9<\/strong><\/span>]<\/sup><\/a> 
        \nM. Wheeler, “Celebrity politics in the fake news age”, p. 31.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[10<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 31.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[11<\/strong><\/span>]<\/sup><\/a> 
        \nAlasdair Pepper, “Removing fake content from the Internet”, in A Carter-Ruck Report: Fake News \u2013 Authentic Views<\/em>, p. 17,         https:\/\/www.carter-ruck.com\/insight\/fakes-news-authentic-views\/celebrity-politics-in-the-fake-news-age\/<\/a>. Accessed: 25 August 2020.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[12<\/strong><\/span>]<\/sup><\/a> 
        \nDavid De Coninck, Thomas Frissen, Koen Matthijs, Leen d\u00b4Haenend, Gr\u00e9goire Lits, Olivier Champagne-Poirier, Marie-Eve Carignan, Marc D. David, Nathalie Pignard-Cheynel, S\u00e9bastien Salerno and Melissa G\u00e9n\u00e9reux, “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”, Frontiers in Psychology<\/em>, 16 April 2021, pp. 1-13,         https:\/\/www.frontiersin.org\/articles\/10.3389\/fpsyg.2021.646394\/full<\/a>. Accessed: 17 August 2021. Quoted line on p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[13<\/strong><\/span>]<\/sup><\/a> 
        \nMaria D. Molina, S. Shyam Sundar, Thai Le, Dongwon Lee, “\u02c8Fake News\u02c8 Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content”, American Behavioral Scientist<\/em> 65 (2\/2021), pp. 180-212,         https:\/\/journals.sagepub.com\/doi\/full\/10.1177\/0002764219878224<\/a> Accessed: 12 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[14<\/strong><\/span>]<\/sup><\/a> 
        \nM. D. Molina et al., “\u02c8Fake News\u02c8 Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content”, p. 184.<\/p>\n

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

        \n

        <\/a>[15<\/strong><\/span>]<\/sup><\/a> 
        \nGalit Hasan-Rokem, “Rumors in Times of War and Cataclysm. A Historical Perspective”, in Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 31-52.
        \n Hasan-Rokem states it is possible to differentiate between “modern rumours” and “ancient rumours”. Quoted line on p. 33.<\/p>\n

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

        \n

        <\/a>[16<\/strong><\/span>]<\/sup><\/a> 
        \nGalit Hasan-Rokem, “Rumors in Times of War and Cataclysm. A Historical Perspective”, p. 31.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[17<\/strong><\/span>]<\/sup><\/a> 
        \nJody Enders, “Dramatic Rumors and Truthful Appearances: The Medieval Myth of Ritual Murder by Proxy”, in Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 15-30. Quoted line on p. 15.<\/p>\n

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

        \n

        <\/a>[18<\/strong><\/span>]<\/sup><\/a> 
        \nJoanna M. Burkhardt, “Combating Fake News in the Digital Age”, ALA American Library Association, Library Technology Reports<\/em> 53(8\/2017), pp. 5-33,         https:\/\/journals.ala.org\/index.php\/ltr\/issue\/viewIssue\/662\/423<\/a> Accessed: 5 August 2021. Quoted line on p. 5.<\/p>\n

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

        \n

        <\/a>[19<\/strong><\/span>]<\/sup><\/a> 
        \nV\u00e9ronique Campion-Vincent, “From Evil Others to Evil Elites: A Dominant Pattern in Conspiracy Theories Today”, in Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 103-122. Quoted from p. 109.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[20<\/strong><\/span>]<\/sup><\/a> 
        \nAllport and Postman cited in V\u00e9ronique Campion-Vincent, “Introduction”, in Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 11-14. Quoted line on p. 11.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[21<\/strong><\/span>]<\/sup><\/a> 
        \nG. Hasan-Rokem, “Rumors in Times of War and Cataclysm. A Historical Perspective”, p. 32.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[22<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Enders, “Dramatic Rumors and Truthful Appearances: The Medieval Myth of Ritual Murder by Proxy”, p. 15.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[23<\/strong><\/span>]<\/sup><\/a> 
        \nIn the article “Dramatic Rumors and Truthful Appearances: The Medieval Myth of Ritual Murder by Proxy” (2005), Enders states that one antisemitic legend staged as a play in the 15th century, under the title Misterie de la Sainte Hostie<\/em>\/The Mystery of the Holy Host<\/em>, played out the drama of a fallen Christian widow burnt at the stake for a ritual infanticide after conspiring with a Jewish money-lender in order to “test and torture” Christ as embodied in the Holy Host (pp. 15-16). It should be noted that this play follows a Parisian legend from 1290. The antisemitic motif of a bloodthirsty Jew and ritual killings of Christian babies for their lifesaving blood, was common in “creating, promoting and encouraging intolerance, discrimination and abuse” towards members of the Jewish community (p. 16). <\/p>\n

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

        \n

        <\/a>[24<\/strong><\/span>]<\/sup><\/a> 
        \nJ. M. Burkhardt, “Combating Fake News in the Digital Age”, pp. 5-6.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[25<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 5.<\/p>\n

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

        \n

        <\/a>[26<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 6.<\/p>\n

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

        \n

        <\/a>[27<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., pp. 6, 7.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[28<\/strong><\/span>]<\/sup><\/a> 
        \nJianing Li and Min-Hsin Su, “Real Talk About Fake News: Identity Language and Disconnected Networks of the US Public’s \u02c8Fake News\u02c8 Discourse on Twitter“, Social Media + Society<\/em> (April-June\/2020), pp. 1\u201314,         https:\/\/journals.sagepub.com\/doi\/pdf\/10.1177\/2056305120916841<\/a> Accessed: 6 August 2021. Quoted line on p. 2.<\/p>\n

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

        \n

        <\/a>[29<\/strong><\/span>]<\/sup><\/a> 
        \nJ. M. Burkhardt, “Combating Fake News in the Digital Age”, pp. 7, 8.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[30<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 3.<\/p>\n

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

        \n

        <\/a>[31<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Li and M.-H. Su, “Real Talk About Fake News: Identity Language and Disconnected Networks of the US Public’s \u02c8Fake News\u02c8 Discourse on Twitter“, p. 2.<\/p>\n

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

        \n

        <\/a>[32<\/strong><\/span>]<\/sup><\/a> 
        \nM. D. Molina et al., “\u02c8Fake News\u02c8 Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content”, p. 183.<\/p>\n

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

        \n

        <\/a>[33<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[34<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 2.<\/p>\n

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

        \n

        <\/a>[35<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 4.<\/p>\n

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

        \n

        <\/a>[36<\/strong><\/span>]<\/sup><\/a> 
        \nM. D. Molina et al., “\u02c8Fake News\u02c8 Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content”, p. 181.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[37<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 184.<\/p>\n

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

        \n

        <\/a>[38<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 4.<\/p>\n

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

        \n

        <\/a>[39<\/strong><\/span>]<\/sup><\/a> 
        \nM. D. Molina et al., “\u02c8Fake News\u02c8 Is Not Simply False Information: A Concept Explication and Taxonomy of Online Content”, pp. 182, 184.<\/p>\n

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

        \n

        <\/a>[40<\/strong><\/span>]<\/sup><\/a> 
        \nD. De Coninck et al., “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”, p. 2.<\/p>\n

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

        \n

        <\/a>[41<\/strong><\/span>]<\/sup><\/a> 
        \nBenkler et al. cited in D. De Coninck et al, “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”, p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[42<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 2. <\/p>\n

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

        \n

        <\/a>[43<\/strong><\/span>]<\/sup><\/a> 
        \nBo Li and Olan Scott, “Fake News Travels Fast: Exploring Misinformation Circulated Around Wu Lei’s Coronavirus Case”, International Journal of Sport Communication<\/em>, (13\/2020), pp. 505\u2013513,         https:\/\/www.semanticscholar.org\/paper\/Fake-News-Travels-Fast%3A-Exploring-Misinformation-Wu-Li-Scott\/fc325e2509a77da46ea525b8ad180bbdeaae5081<\/a> Accessed: 6 August 2021. Quoted line on p. 506.<\/p>\n

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

        \n

        <\/a>[44<\/strong><\/span>]<\/sup><\/a> 
        \nWardle and Derakhshan quoted in B. Li and O. Scott, “Fake News Travels Fast: Exploring Misinformation Circulated Around Wu Lei’s Coronavirus Case”, pp. 506, 508. <\/p>\n

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

        \n

        <\/a>[45<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 4.<\/p>\n

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

        \n

        <\/a>[46<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 5.<\/p>\n

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

        \n

        <\/a>[47<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 5.<\/p>\n

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

        \n

        <\/a>[48<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., pp. 5, 6.<\/p>\n

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

        \n

        <\/a>[49<\/strong><\/span>]<\/sup><\/a> 
        \nAndrew Guess, Jonathan Nagler and Joshua Tucker, “Less than you think: Prevalence and predictors of fake news dissemination on Facebook”, Science Advances, pp. 1-8,         https:\/\/www.researchgate.net\/publication\/330282199_Less_than_you_think_Prevalence_and_predictors_of_fake_news_dissemination_on_Facebook<\/a>. Accessed: 7 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[50<\/strong><\/span>]<\/sup><\/a> 
        \nDaniel Halpern, Sebasti\u00e1n Valenzuela, James Katz and Juan Pablo Miranda, “From Belief in Conspiracy Theories to Trust in Others: Which Factors Influence Exposure, Believing and Sharing Fake News”, in Gabriele Meiselwitz (ed.) Social Computing and Social Media. Design, Human Behavior and Analytics<\/em>, Springer, Cham 2019, pp. 217-232.<\/p>\n

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

        \n

        <\/a>[51<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 11.<\/p>\n

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

        \n

        <\/a>[52<\/strong><\/span>]<\/sup><\/a> 
        \nNelson and Taneja cited in J. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, p. 11.<\/p>\n

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

        \n

        <\/a>[53<\/strong><\/span>]<\/sup><\/a> 
        \nIn their article “Understanding Fake News Consumption: A Review” Baptista and Gradim list research results according to which liberals “tend to be more analytical than conservatives”, who in turn are more prone to consuming fake news, which is also true for those with right-wing preferences (“have a greater tendency to reject complex topics and are more dependent on implicit reasoning”) (p. 12).<\/p>\n

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

        \n

        <\/a>[54<\/strong><\/span>]<\/sup><\/a> 
        \nJ. P. Baptista and A. Gradim, “Understanding Fake News Consumption: A Review”, pp. 11-13.<\/p>\n

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

        \n

        <\/a>[55<\/strong><\/span>]<\/sup><\/a> 
        \nUscinski et al. (2016) determined that Democrats and Republicans are equally predisposed to accept conspiracy theories, but most sources claim that right-wing individuals relate more to conspiracy theories and trust\/consume\/share fake news more often (See, Joseph E. Uscinski, Casey Klofstad, and Matthew D. Atkinson, “What Drives Conspiratorial Beliefs? The Role of Informational Cues and Predispositions”. Political Research Quarterly<\/em> 69 (2016), pp. 57\u201371.). <\/p>\n

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

        \n

        <\/a>[56<\/strong><\/span>]<\/sup><\/a> 
        \nV. Campion-Vincent, “From Evil Others to Evil Elites: A Dominant Pattern in Conspiracy Theories Today”, p. 117.<\/p>\n

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

        \n

        <\/a>[57<\/strong><\/span>]<\/sup><\/a> 
        \nBriony Swire, Adam J. Berinsky, Stephan Lewandowsky and Ullrich K. H. Ecker, “Processing Political Misinformation: Comprehending the Trump Phenomenon”, Royal Society Open Science<\/em> 4 (160802\/2017), pp. 1-21,         https:\/\/royalsocietypublishing.org\/doi\/pdf\/10.1098\/rsos.160802<\/a>. Accessed: 29 December 2021.<\/p>\n

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

        \n

        <\/a>[58<\/strong><\/span>]<\/sup><\/a> 
        \nSvenja Boberg, Thorsten Quandt, Tim Schatto-Eckrodt and Lena Frischlich, “Pandemic Populism: Facebook Pages of Alternative News Media and the Corona Crisis — A Computational Content Analysis”, Muenster Online Research<\/em> (MOR), Working paper (1\/21), pp. 1-21,         https:\/\/arxiv.org\/pdf\/2004.02566.pdf<\/a>. Accessed: 18 August 2021.<\/p>\n

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

        \n

        <\/a>[59<\/strong><\/span>]<\/sup><\/a> 
        \nD. De Coninck et al., “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”.<\/p>\n

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

        \n

        <\/a>[60<\/strong><\/span>]<\/sup><\/a> 
        \nSoroush Vosoughi, Deb Roy and Sinan Aral, “The Spread of true and false news online”, MIT Initiative on the digital economy research brief, pp. 1-5,         https:\/\/ide.mit.edu\/wp-content\/uploads\/2018\/12\/2017-IDE-Research-Brief-False-News.pdf<\/a>. Accessed: 17 August 2021.<\/p>\n

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

        \n

        <\/a>[61<\/strong><\/span>]<\/sup><\/a> 
        \nSoroush Vosoughi, Deb Roy and Sinan Aral, “The spread of true and false news online”, Science<\/em> 359 (6380\/2018), pp. 1146-1151,         https:\/\/www.science.org\/doi\/10.1126\/science.aap9559<\/a> Accessed: 16 August 2021.<\/p>\n

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

        \n

        <\/a>[62<\/strong><\/span>]<\/sup><\/a> 
        \nS. Vosoughi, D. Roy and S. Aral, “The Spread of true and false news online”, pp. 1, 2.<\/p>\n

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

        \n

        <\/a>[63<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, pp. 1, 3.<\/p>\n

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

        \n

        <\/a>[64<\/strong><\/span>]<\/sup><\/a> 
        \nD. De Coninck et al., “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”, p. 1.<\/p>\n

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

        \n

        <\/a>[65<\/strong><\/span>]<\/sup><\/a> 
        \nWorld Health Organization, “Infodemic”,         https:\/\/www.who.int\/health-topics\/infodemic#tab=tab_1<\/a> Accessed: 17 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[66<\/strong><\/span>]<\/sup><\/a> 
        \nB. Li and O. Scott, “Fake News Travels Fast: Exploring Misinformation Circulated Around Wu Lei’s Coronavirus Case”, p. 505.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[67<\/strong><\/span>]<\/sup><\/a> 
        \nWorld Health Organization, “Infodemic”.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[68<\/strong><\/span>]<\/sup><\/a> 
        \nD. De Coninck et al., “Beliefs in Conspiracy Theories and Misinformation About COVID-19: Comparative Perspectives on the Role of Anxiety, Depression and Exposure to and Trust in Information Sources”, p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[69<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[70<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 2.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[71<\/strong><\/span>]<\/sup><\/a> 
        \nJames Vincent, “Something in the air. Conspiracy theorists say 5G causes novel coronavirus, so now they\u00b4re harassing and attacking UK telecom engineers”, The Verge<\/em>, 3 June 2020,         https:\/\/www.theverge.com\/2020\/6\/3\/21276912\/5g-conspiracy-theories-coronavirus-uk-telecoms-engineers-attacks-abuse<\/a> Accessed: 19 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[72<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Vincent, “Something in the air. Conspiracy theorists say 5G causes novel coronavirus, so now they\u00b4re harassing and attacking UK telecom engineers”.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[73<\/strong><\/span>]<\/sup><\/a> 
        \nMd Saiful Islam, Tonmoy Sarkar, Sazzad Hossain Khan, Abu-Hena Mostofa Kamal, S. M. Murshid Hasan, Alamgir Kabir, Dalia Yeasmin, Mohammad Ariful Islam, Kamal Ibne Amin Chowdhury, Kazi Selim Anwar, Abrar Ahmad Chughtai and Holly Seale, “COVID-19\u2013Related 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\u20131629,         https:\/\/www.ncbi.nlm.nih.gov\/pmc\/articles\/PMC7543839\/<\/a> Accessed: 21 August 2021. Quoted line on pp. 1622, 1624.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[74<\/strong><\/span>]<\/sup><\/a> 
        \nFeldman-Savelsberg, Ndonko and Yang describe the public health and political consequences of rumours (and conspiracy theories) relating to vaccinations in Cameroon where it is important to take into account the historical, political and socio-cultural context (p. 141) for understanding “reproductive rumours”. Collective memory related to the colonial past is key for constructing and accepting reproductive rumours. Feldman-Savelsberg, Ndonko and Yang (p. 142) define reproductive uncertainty as “anxiety towards disruption (or even termination) of fertility” (infertility, infant mortality, miscarriages) as well as a fear from disrupting social and cultural reproduction. Strong distrust and suspicion towards intentions by the government and public health initiatives in the 1980s were linked to rumours about “the occult in government circles” as well as the belief in supernatural attacks on female fertility (p. 143). In the early 1990s, distrust grew with the promotion of universal vaccination and immunization implemented by foreign health workers (WHO). The tetanus vaccination campaign, legalization of contraception and promotion of family planning generated rumours on sterilizing vaccines, in which the local press played a significant role (p. 145). The reintroduction of the universal vaccination campaign evoked “negative collective memories of (“the authoritarian character”) of medical efforts by the French colonial government” which carried out forced vaccinations in an attempt to control certain diseases (e.g., the 1940s anti-gonorrhoea campaign) (p. 145). “Historically based mistrust woven into past and present policies” was evident in rumours on sterilizing vaccines and resistance to vaccination and “bad vaccines” became a means for 1) girls in Cameroon to protect their reproductive potential; 2) the local community to protect the autonomy from the government and international agencies (p. 146). Distrust of foreigners\/white people, memories of the colonial past and the international assistance to the healthcare system in Cameroon is a constant theme of mistrust in vaccination (p. 148). See Pamela Feldman-Savelsberg, Flavien T. Ndonko and Song Yang, “How Rumor Begets Rumor: Collective Memory, Ethnic Conflict, and Reproductive Rumors in Cameroon”, in Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 141-158.<\/p>\n

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

        \n

        <\/a>[75<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Scott Brennen, Felix M. Simon, Philip N. Howard and Rasmus Kleis Nielsen, Types, Sources, and Claims of COVID-19 Misinformation<\/em>, Reuters Institute for the Study of Journalism
        \n University of Oxford, Oxford, 2020,         https:\/\/reutersinstitute.politics.ox.ac.uk\/sites\/default\/files\/2020-04\/Brennen%20-%20COVID%2019%20Misinformation%20FINAL%20%283%29.pdf<\/a> Accessed: 22 August 2021. Quoted line on p. 11.<\/p>\n

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

        \n

        <\/a>[76<\/strong><\/span>]<\/sup><\/a> 
        \nJean-Bruno Renard, “Negatory Rumors: From the Denial of Reality to Conspiracy Theory”, in: Gary Alan Fine, V\u00e9ronique Campion-Vincent and Chip Heath (eds.), Rumor Mills. The Social Impact of Rumor and Legend<\/em>, Aldine Transaction, New Brunswick, London, pp. 223-240. Quoted line on p. 223.<\/p>\n

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

        \n

        <\/a>[77<\/strong><\/span>]<\/sup><\/a> 
        \nJ.-B. Renard, “Negatory Rumors: From the Denial of Reality to Conspiracy Theory”, p. 223.<\/p>\n

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

        \n

        <\/a>[78<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 224.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[79<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 229.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[80<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 225.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[81<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 235.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[82<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 235.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[83<\/strong><\/span>]<\/sup><\/a> 
        \nChristina Georgacopoulos, “Why We Fall for Conspiracies”, Fight Fake News<\/em>, February 2020, https:\/\/faculty.lsu.edu\/fakenews\/about\/rumors.php Accessed: 23 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[84<\/strong><\/span>]<\/sup><\/a> 
        \nJ.-B. Renard, “Negatory Rumors: From the Denial of Reality to Conspiracy Theory”, p. 235.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[85<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 236.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[86<\/strong><\/span>]<\/sup><\/a> 
        \nFred Inglis, A Short History of Celebrity<\/em>, Princeton University Press, Princeton, 2010, p. 10.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[87<\/strong><\/span>]<\/sup><\/a> 
        \nChris Rojek, Celebrity<\/em>, Reaktion Books, London 2001, p. 13.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[88<\/strong><\/span>]<\/sup><\/a> 
        \nOlivier Driessens, “Celebrity capital: redefining celebrity using field theory”, Theory and Society<\/em> 42(5\/2013), pp. 543-560,         https:\/\/link.springer.com\/article\/10.1007\/s11186-013-9202-3<\/a> Accessed: 21 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[89<\/strong><\/span>]<\/sup><\/a> 
        \nF. Inglis, A Short History of Celebrity<\/em>, p. 11.<\/p>\n

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

        \n

        <\/a>[90<\/strong><\/span>]<\/sup><\/a> 
        \nSean Redmond, “Intimate Fame Everywhere”, in Su Holmes and Sean Redmond (eds.) Framing Celebrity: New directions in celebrity culture<\/em>, Routledge, Oxon, New York 2010, pp. 27-43. Quoted line on p. 27.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[91<\/strong><\/span>]<\/sup><\/a> 
        \nJavad Yoosefi Lebni, Seyed Fahim Irandoost, Nafiul Mehedi, Sardar Sedighi and Arash Ziapour, “The role of celebrities during the COVID-19 pandemic in Iran: opportunity or threat?”, Disaster Medicine and Public Health Preparedness<\/em>, 2020, pp. 1-3,         https:\/\/www.researchgate.net\/publication\/347847734_The_Role_of_Celebrities_during_the_COVID-19_Pandemic_in_Iran_Opportunity_or_Threat<\/a> Accessed: 17 August 2021. Quoted line on p. 1.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[92<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Y. Lebni et al., “The role of celebrities during the COVID-19 pandemic in Iran: opportunity or threat?”, p. 1.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[93<\/strong><\/span>]<\/sup><\/a> 
        \nSee Dan Brockington, Celebrity and the Environment. Fame, Wealth and Power in Conservation<\/em>, Zed Books, London, New York, 2009.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[94<\/strong><\/span>]<\/sup><\/a> 
        \nMiko\u0142aj Kami\u0144ski, Cyntia Szyma\u0144ska and Jan Krzysztof Nowak, “Whose Tweets on COVID-19 Gain the Most Attention: Celebrities, Political, or Scientific Authorities?”, Cyberpsychology, Behavior and Social Networking, 24(2\/2021), pp. 123-128,         https:\/\/www.liebertpub.com\/doi\/full\/10.1089\/cyber.2020.0336<\/a> Accessed: 27 September 2021.<\/p>\n

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

        \n

        <\/a>[95<\/strong><\/span>]<\/sup><\/a> 
        \nM. Kami\u0144ski, C. Szyma\u0144ska and J. K. Nowak, “Whose Tweets on COVID-19 Gain the Most Attention: Celebrities, Political, or Scientific Authorities?”, p. 123.<\/p>\n

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

        \n

        <\/a>[96<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 123.<\/p>\n

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

        \n

        <\/a>[97<\/strong><\/span>]<\/sup><\/a> 
        \nLouis Wise, “\u02c8There’s a sense that celebrities are irrelevant\u02c8: has coronavirus shattered our fame obsession?”, The Guardian<\/em>, 2 May 2020,         https:\/\/www.theguardian.com\/culture\/2020\/may\/02\/theres-a-sense-that-celebrities-are-irrelevant-has-coronavirus-shattered-our-fame-obsession<\/a> Accessed: 4 September 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[98<\/strong><\/span>]<\/sup><\/a> 
        \nL. Wise, “\u02c8There’s a sense that celebrities are irrelevant\u02c8: has coronavirus shattered our fame obsession?”.<\/p>\n

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

        \n

        <\/a>[99<\/strong><\/span>]<\/sup><\/a> 
        \nMarguerite Van den Berg and Claartje L. ter Hoeven, “Madonna as a Symbol of Reflexive Modernisation”, Celebrity Studies<\/em>, 4(2\/2013), pp. 144-154.<\/p>\n

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

        \n

        <\/a>[100<\/strong><\/span>]<\/sup><\/a> 
        \nMarija Geiger Zeman, Zdenko Zeman and Mirela Holy, “Izme\u0111u otpora i konformizma: starenje kao nova Madonnina \u02c8revolucija\u02c8” (Between resistance and conformism: Old age as Madonna’s new ‘revolution’), Sic : \u010dasopis za knji\u017eevnost, kulturu i knji\u017eevno prevo\u0111enje, 10(1\/2019), pp. 1-26, https:\/\/hrcak.srce.hr\/232287 Accessed: 20 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[101<\/strong><\/span>]<\/sup><\/a> 
        \nRachel Kiley, “People think Madonna predicted coronavirus with 2019 performance”, daily Dot<\/em>, 22 March 2020,         https:\/\/www.dailydot.com\/unclick\/madonna-eurovision-coronavirus-prediction\/<\/a> Accessed: 27 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[102<\/strong><\/span>]<\/sup><\/a> 
        \nNick Bond “Covid-19: Madonna posts wild Coronavirus conspiracy theory, Instagram hides it”, NZ Herald<\/em>, 29 July 2020,         https:\/\/www.nzherald.co.nz\/entertainment\/covid-19-madonna-posts-wild-coronavirus-conspiracy-theory-instagram-hides-it\/6VYFHEZE6GWX3IZ5BPU2UPE7AY\/<\/a> Accessed: 17 August 2020.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[103<\/strong><\/span>]<\/sup><\/a> 
        \nDickens Olewe, “Stella Immanuel – the doctor behind unproven coronavirus cure claim”, BBC News<\/em>, 29 July 2020,         https:\/\/www.bbc.com\/news\/world-africa-53579773<\/a> Accessed: 28 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[104<\/strong><\/span>]<\/sup><\/a> 
        \nInfektolo\u0161ki glasnik<\/em>, “Hidroksiklorokin u lije\u010denju COVID-19 \u2013 \u0161to je novo?” (Hydroxychloroquine in treating COVID-19 \u2013 recent updates<\/em>) ,         https:\/\/cji.com.hr\/hidroksiklorokin-u-lijecenju-covid-19-sto-je-novo\/<\/a> Accessed: 28 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[105<\/strong><\/span>]<\/sup><\/a> 
        \nN. Bond “Covid-19: Madonna posts wild Coronavirus conspiracy theory, Instagram hides it”.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[106<\/strong><\/span>]<\/sup><\/a> 
        \nToyin Owoseje, “Coronavirus is ‘the great equalizer,’ Madonna tells fans from her bathtub”, CNN Entertainment<\/em>, 23 March 2020,         https:\/\/edition.cnn.com\/2020\/03\/23\/entertainment\/madonna-coronavirus-video-intl-scli\/index.html<\/a> Accessed: 28 December 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[107<\/strong><\/span>]<\/sup><\/a> 
        \nT. Owoseje, “Coronavirus is ‘the great equalizer,’ Madonna tells fans from her bathtub”.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[108<\/strong><\/span>]<\/sup><\/a> 
        \nL. Wise, “\u02c8There’s a sense that celebrities are irrelevant\u02c8: has coronavirus shattered our fame obsession?”.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[109<\/strong><\/span>]<\/sup><\/a> 
        \nB. Li and O. Scott, “Fake News Travels Fast: Exploring Misinformation Circulated Around Wu Lei’s Coronavirus Case”<\/em>, p. 506.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[110<\/strong><\/span>]<\/sup><\/a> 
        \nIbid., p. 506.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[111<\/strong><\/span>]<\/sup><\/a> 
        \nJ. Y. Lebni et al., “The role of celebrities during the COVID-19 pandemic in Iran: opportunity or threat?”, p. 1.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[112<\/strong><\/span>]<\/sup><\/a> 
        \nAxel Bruns, Stephen Harrington and Edward Hurcombe, “\u02c8Corona? 5G? or both? \u02c8: the dynamics of COVID-19\/5G conspiracy theories on Facebook”, Media International Australia<\/em>, 177(1\/2020), pp. 12\u201329,         https:\/\/journals.sagepub.com\/doi\/full\/10.1177\/1329878X20946113<\/a> Accessed: 18 August 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[113<\/strong><\/span>]<\/sup><\/a> 
        \nMartina Topi\u0107 and Etajha C. Gilmer, “Hillary Clinton and the Media: From Expected Roles to the Critique of Feminism”, The Qualitative Report<\/em> 22(10\/2017), pp. 2533-2543. Smith’s statement cited from Sisco and Lucas. Quoted line on p. 2537.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[114<\/strong><\/span>]<\/sup><\/a> 
        \nWallace Chigona, Phakamani Mavela, Robin Moyanga, Sarah Mulaji, Shaloam Mutetwa and Hakunavanhu Ndoro, “Critical Discourse Analysis on Media Coverage of COVID-19 Contract Tracing Applications: Case of South Africa”, C&T ‘21: C&T ‘21: Proceedings of the 10th International Conference on Communities & Technologies – Wicked Problems in the Age of Tech<\/em>, pp. 15-24,         https:\/\/dl.acm.org\/doi\/pdf\/10.1145\/3461564.3461580<\/a> Accessed: 23 August 2021. Quoted line on p. 15.<\/p>\n

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

        \n

        <\/a>[115<\/strong><\/span>]<\/sup><\/a> 
        \nW. Chigona et al., p. 15.<\/p>\n

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

        \n

        <\/a>[116<\/strong><\/span>]<\/sup><\/a> 
        \nRuth Wodak and Paul Chilton, A New Agenda in (Critical) Discourse Analysis: Theory, Methodology, and Interdisciplinary<\/em>, John Benjamins, Amsterdam 2005.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[117<\/strong><\/span>]<\/sup><\/a> 
        \nRuth Wodak and Michael Meyer (eds.) Methods of Critical Discourse Analysis<\/em>, London: SAGE, London 2001.\u00a0<\/p>\n

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

        \n

        <\/a>[118<\/strong><\/span>]<\/sup><\/a> 
        \nJan Grue, “Critical discourse analysis, topoi and mystification: disability policy documents from a Norwegian NGO”, Discourse Studies,<\/em>11 (3\/2009), pp. 285-308.<\/p>\n

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

        \n

        <\/a>[119<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 289.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[120<\/strong><\/span>]<\/sup><\/a> 
        \nIbid, p. 289.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[121<\/strong><\/span>]<\/sup><\/a> 
        \nMartin Reisigl and Ruth Wodak, “The Discourse-Historical Approach (DHA)”, p. 87-121,         https:\/\/www.researchgate.net\/publication\/251636976_The_Discourse-Historical_Approach_DHA<\/a> Accessed: 21 December 2021. Quoted line on pp. 93-94.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[122<\/strong><\/span>]<\/sup><\/a> 
        \nA. G., “Slavne osobe dijele teoriju zavjere o povezanosti 5G mre\u017ee i korone: \u02c8Svi ste ovce\u02c8” (Celebrities share conspiracy theory on the connection between the 5G network and the coronavirus: ‘You are all sheep’”<\/em>), index.hr<\/em>, 16 April 2020.,         https:\/\/www.index.hr\/magazin\/clanak\/slavne-osobe-dijele-teoriju-zavjere-o-povezanosti-5g-mreze-i-korone-svi-ste-ovce\/2175634.aspx<\/a> Accessed: 3 June 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[123<\/strong><\/span>]<\/sup><\/a> 
        \nIbid. <\/p>\n

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

        \n

        <\/a>[124<\/strong><\/span>]<\/sup><\/a> 
        \nNenad Jari\u0107 Dauenahuer, “Hrvatska blogerica \u0161iri opasne la\u017ei o koroni. Prati je pola milijuna ljudi” (Croatian blogger spreads dangerous lies on the coronavirus. She has half a million followers<\/em>), index.hr<\/em>, 5 December 2020,         https:\/\/www.index.hr\/vijesti\/clanak\/hrvatska-blogerica-siri-opasne-lazi-o-koroni-prati-je-pola-milijuna-ljudi\/2236290.aspx<\/a> Accessed: 3 June 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[125<\/strong><\/span>]<\/sup><\/a> 
        \nIbid.<\/p>\n

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

        \n

        <\/a>[126<\/strong><\/span>]<\/sup><\/a> 
        \nM. Wheeler, “Celebrity politics in the fake news age”<\/p>\n

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

        \n

        <\/a>[127<\/strong><\/span>]<\/sup><\/a> 
        \nAxel Bruns, Stephen Harrington and Edward Hurcombe, “\u02c8Corona? 5G? or both?\u02c8: the dynamics of COVID-19\/5G conspiracy theories on Facebook”, Media International Australia<\/em>, 177(1\/2020), p. 12\u201329,         https:\/\/journals.sagepub.com\/doi\/full\/10.1177\/1329878X20946113<\/a> Accessed: 18 August 2021.
        \n<\/span><\/p>\n<\/div>\n

         <\/p>\n

        Izazovi \u201cnovog hibridnog ekosistema\u201d: slavne osobe, la\u017ene vijesti i Covid-19<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Kompleksna isprepletenost mainstream medija i dru\u0161tvenih medija rezultirala je stvaranjem \u201cnovog hibridnog ekosistema\u201d u kojem se konzumenti\/ce primarno anga\u017eiraju oko ideja i vijesti objavljenih na dru\u0161tvenim mre\u017eama koje naknadno mainstream mediji prenose kao vijesti (Wheeler 2018). U tom novom \u201chiper-povezanom okoli\u0161u\u201d (Pepper 2018) \u201cla\u017ene vijesti\u201d zauzimaju specifi\u010dno mjesto. Koncept \u201cla\u017enih vijesti\u201d je vrlo kompleksan, kontradiktoran i ambivalentan jer figurira kao krovni pojam kojim se pokrivaju razli\u010diti fenomeni i raznolike prakse od kojih su neke ranije poznate dok su druge novijeg datuma (Molina i sur. 2021). Novi komunikacijski okoli\u0161 i ulogu la\u017enih vijesti u njemu mogu\u0107e je analizirati i kroz optiku fenomena slavnih osoba. Rad metodom analize diskursa ra\u0161\u010dlanjuje tekstove o razli\u010ditim izjavama slavnih osoba o Covid-19 na dva hrvatska web portala (index.hr, 24sata.hr). Pokazuje se da zbog te\u017eine koju njihovom djelovanju i izjavama pridaju konzumenti sadr\u017eaja web portala, slavne osobe funkcioniraju kao vrlo potentni prenositelji la\u017enih vijesti. S druge strane, mainstream mediji \u010desto djeluju kao korektiv dru\u0161tvenih medija, nastoje\u0107i \u0161to uvjerljivije demantirati la\u017ene vijesti i njihove slavne prenositelje na dru\u0161tvenim mre\u017eama.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> novi hibridni ekosistem, la\u017ene vijesti, slavne osobe, Covid-19, analiza diskursa, index.hr, 24 sata.hr..<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#2 2022<\/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

        DOI 10.46640\/imr.11.20.2<\/a>
        \n UDK 001:366*generacija Y
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 10.2.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Branimir Felger
        \n<\/span><\/p>\n

        Josip Juraj Strossmayer University of Osijek, Faculty of Philosophy
        \nZagreb, Croatia
        \nfelgerbranimir@gmail.com<\/p>\n

        Generation Y \u2013 Between Challenges of the Knowledge Society and
        \nDemands of a Prosperous Market <\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (338 KB), English, Str. 3269 – 3284
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        This paper deals with elements from which modern society has created a particular gap into which it has pushed young generations, named by scientists, the media and the public, Generation Y. This gap appears between the society of knowledge, in all its conceptual poverty and absurdity on the one hand, and demands of prosperous markets, on the other. The first part of this paper will present the definition and main characteristics of millennials, as well as the socio-historical context of their development. This is followed by an analysis of the media that reproduce and, to a large extent, determine the conditions and environment in which these generations exist. They are subject to technological socialization, which means they do not come into contact with each other but with machines. In this way they achieve only contact, instead of actual human relationships as experienced by previous generations. This paper also deals with technologies commonly known as \u201cnew\u201d, although, as we write these lines, some of them have probably already become outdated and are being replaced by newer ones. This is how fast the world changes. <\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> generation Y, society of knowledge, consumerism, media.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

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

        Recently a friend of mine, who works as an IT teacher, explained her teaching process and how she usually tests her pupils’ knowledge. They belong to the generation born in 2005. There is no place for traditional exams, papers and grades in her professional or personal curriculum. She uses Kahoot to test their knowledge. For me the concept of Kahoot was completely unknown as I belong to the generation that encountered computers and the beginnings of internet only after finishing higher level education. Not to mention apps, those products of a modern fast-growing technology I came into contact with only after spending some time on the job market.<\/p>\n

        Kahoot is an application for testing knowledge. It is a game in which the teacher constructs questions based on the school curriculum (which is certainly out of date), in a “modern” way, adapted to children, she explains, with a list of possible answers and a time limit for choosing one answer. It is actually an app created for leisure and aimed at the masses, the users of new technologies, primarily those from the younger generation, but its creator probably couldn’t imagine it would be used in the so-called ‘flipped classroom’, to use Liessmann’s term.<\/p>\n

        The Kahoot game made me think of Liessmann’s “Theory of Miseducation” because in it he exposes the idea of a society of knowledge in the postmodern era in all its existing and non-existent fragments by using the example of the television show “Who Wants to Be a Millionaire”. For the 2005 generation this show already belongs to an antiquated style. Kahoot is in.\u00a0 Although, by the time this paper is finished, maybe even Kahoot won’t be that interesting. Science, knowledge, education and the society of knowledge also feature in this paper. Knowledge in the sense of the modern “manufacture” of educated people for the purposes of the job market. This might be called commercial knowledge, which correlates to information knowledge i.e., the practice of so-called consumerist education.<\/p>\n

         <\/strong><\/p>\n

        2. BASIC CHARACTERISTICS OF GENERATION Y<\/strong><\/p>\n

        Millennials, or members of the so-called Generation Y, were born in a technological world in which almost everything has been digitised (Car, 2010). Born between 1980 and 2000 (Meier and Crocker, 2010), they’ve been called millennials and echo boomers owing to similarities with baby boomers (Kapoor and Solomon, 2011). For them a world without hundreds of television programs is unimaginable, the internet is their main source of information and fun, and they would be completely lost without a cell phone (Car, 2010). <\/p>\n

        This generation, just as any other preceding it, grew up influenced by particular political, economic, cultural and historical events (Guillot-Soulez and Soulez, 2014).<\/p>\n

        Those among them who are older, grew up in an environment of economic prosperity and peace, but only in some parts of the world. War in the Middle East and terrorist attacks have increasingly signalled them to be cautious. The economic crisis reached them at the moment when they were supposed to enter the job market, and recession faced them with the risk of unemployment and poverty. Since their earliest age, members of Generation Y have owned a computer and had internet access (Guillot-Soulez and Soulez, 2014). Their most commonly used social networks are Facebook and Twitter, while for job searches they also use LinkedIn (Anantatmula and Shrivastav, 2012). <\/p>\n

        Before 2014, 29% of millennials were on the job market, and it is assumed that by 2020 this percentage will reach 50% in the total working force (Krasulja et.al., 2015). They use internet as a social and psychological platform for self-actualization, assertion and finding their own identity. This generation uses the internet to socialize, compete for social status and take risks in order to test the limits of the social world (Peck, 2008), or to experiment with identities in search of acceptance. It is characterized by a high level of self-esteem and confidence, as well as adaptability, openness and tolerance (Anantatmula and Shrivastav, 2012). <\/p>\n

        They enter the job market with skills in which they are superior to their antecedents, owing to their knowledge of technology and the way they use it, which includes the skill of doing several tasks at the same time. They can simultaneously exchange messages with friends, listen to music and do some writing on the side (Paine Schofield and Honore, 2009). <\/p>\n

        This generation wants everything right here, right now (Bolton et al., 2013). And since they enter into interpersonal relationships through social networks, we can wonder to what extent these serve as platforms for prosocial activities, and how much they actually isolate them from the outer world and impact the deficit of altruism, confidence and social competences. <\/p>\n

        Almost 78% of adolescents believe they can be more honest online than they are in personal interaction (Lenhart et. al., 2007). If they use the computer as a tool for fun and superficial information, when and how do they use it for educational, cultural and generally social approaches to education goals? Or, as Habermas puts it, does the quantitative increase of information translate into qualitative changes in the social system? Information overload can negatively impact the development of the public sphere because “more” does not necessarily mean “better” (Habermas, 1989). This will be further discussed later in this paper.<\/p>\n

         <\/p>\n

        3. THE MEDIA SOCIETY \u2013 A VICTORY OF THE BANAL AND THE TRIVIAL <\/strong><\/p>\n

        Bognar notes that we live in line with the philosophy of “constant growth” which has introduced new challenges for the western civilization. He sees the postmodern period as a period of crises and changes, an unstable era of uncertainty viewed by many people as a life without defined truths, standards or ideals, and of increasing religious fundamentalism which attracts supporters because people fear the meaningless world. In such circumstances we can no longer find solutions in the old ways of thinking (Bognar, 2007). Media content is increasingly a product of such pressures. <\/p>\n

        The fact that at the beginning of the 20th century it took several months for news to reach distant parts of the world, while today an event can be followed directly on the screen of a television, cell phone or computer, illustrates the availability, speed and interactivity resulting from the increased speed of communication. The effect of television, as the most powerful and spectacular electronic extension of human senses, is based on the direct reporting of events. The so-called television spectacle transmits events as they happen in real time to millions of viewers (Radojkovi\u0107, \u0110or\u0111evi\u0107, 2001). <\/p>\n

        At the turn of the 21st century, communication technology kept expanding, progressing faster than politics had time to respond to terrorist attacks. The media follows events through satellites on TV and social networks, so it is not geographically or temporally limited. The events are reported live, here and now, while audiences can sit at home and follow terrorist attacks, police actions, searches and arrests of perpetrators. Media reports therefore can influence the policies and decisions of governments. (Felger, Lesinger, 2017).<\/p>\n

        Semati calls this phenomenon “the CNN effect” which personalizes international relations through “pure televisualization” (Semati, 2002: 214). The effect of reporting events live is that it speeds up decisions by putting pressure on diplomatic representatives and politicians (Lorimer, 1998: 293). It also influences decisions of the general public that consumes the content and finds in it a confirmation of its equally stressful, cacophonic, consumerist, hectic lifestyle.<\/p>\n

        Livingston identifies three different aspects of this genre as an American phenomenon, in the sense that the media function simultaneously or alternately as agents of setting an agenda, obstacles to achieving goals, but can also influence faster decision-making (Livingston, 1997: 2). Imperatives of American society for example are analysed in Grupp’s theory of “destroyed humans”.<\/p>\n

        He explains how Americans are under the illusion they have the freedom to make their own choices owing to critical thinking and control over their lives, but this freedom is actually a product of consuming television and social media content which indirectly influences their decisions and actions (Grupp, 2011: 156).<\/p>\n

        This can be confirmed by the primary “myth of happiness” which Gilbert explains by the fact that experiencing means to participate in an event, while awareness means observation from the outside. When we identify ourselves with awareness, we describe it as our own experienced events (Gilbert, 2009: 81) with a low or non-existent level of criticism or evaluation of the content we consume. Evaluation of media messages should be an essential skill in terms of critical thinking and verification of media content (Silverblatt et al., 2014: 507).<\/p>\n

        In the context of challenges of the postmodern era and consequences created by the mass media society i.e., created by mass media in the society, the individual has become a commodity. Media consumers are pandered to in line with market orientation, tabloidization, superficiality of content and often the sharing of unverified information due to ignorance, haste or even intentionally (Philips, 2013: 222-270).<\/p>\n

        Kapuscinski notes that ever since its transformation into a commodity, information is no longer submitted to traditional criteria of authenticity control. It is instead governed by laws of the market (Kapuscinski, 2012). And the market in the 21st century is getting bigger, owing to multiplication of the media. Kapuscinski writes that modern technologies have encouraged the multiplication of the media, and wonders about the possible consequences. The most important consequence is the revelation that information is a commodity whose sale and sharing can bring significant profit. The price of information depends on the demand i.e., the interest it evokes. Sale comes first. Information will be considered worthless if it cannot stir interest in the wider public (Kapuscinski, 2012). We live in a world of not only infotainment<\/em> (combining information and entertainment), but also of the infomercial<\/em>, which brings the commercial aspect to information.<\/p>\n

        The media today create and share information in accordance with commercial interest. Street also comments that the media sells products and services. Newspapers and TV shows are commercially manufactured goods, while the news item itself is a product on the market with its particular market value. For a commercial organization manufacturing news, the key measure of success is profit, just like it is for manufacturers of diapers or cars (Street, 2003: 107). <\/p>\n

        There are strong symbolic ties between the symptoms of increasing commercialization in media content and in the modalities of their production and presentation. Another aspect of this is the phenomenon called by Van Zoonen Ken and Barbie<\/em> journalism.<\/p>\n

        This relates to female and male presenters whose physical attractiveness and beauty are more important than their professional qualities as journalists (Van Zoonen, 1998). Hromad\u017ei\u0107 notes they only provide a loose framework for the hidden purpose of marketing. <\/p>\n

        This comes as a result of dominant attempts in the media and media policies to make content less important than form, while form itself is subject to advertising models and policies of the market (Hromad\u017ei\u0107, 2010). This changes the relationship between the media (television in particular) and the messages shared. Baudrillard notes that the television “message” does not consist of the images it shows, but relates to new forms of relationships and perception it imposes, as well as changes in the traditional structures of families and groups (Baudrillard, 2012). <\/p>\n

        In explaining her theory of the “spiral of silence”, Noelle-Neumann insists that humanity cannot progress if it does not adopt a completely different definition of public opinion (Noelle-Neumann, 1991: 257). This is also in line with the idea on the meaningless identification of public opinion as a personal, shared or global phenomenon, because, as Key explains, there is no point in public opinion if everyone is under control (Key, 1967: 543).<\/p>\n

        Debord also recognizes the creation of commodities in such a spectacularization of mass media and its products and narratives. He calls this process the “old enemy” (Debord, 1999: 35). Trivial sensationalism, banalization of content and advertising engineering emphasizes profit at all costs, negates the culture of dialogue and the educational-democratic role of media. It is not necessary for all TV programmes to be intellectual, enriching or educational, nor was this ever the case, but the biggest problem is that the media are financially dependent on advertising agencies which to some extent control their fate. (Radojkovi\u0107, \u0110or\u0111evi\u0107, 2001). <\/p>\n

        Through this dependence and their agenda and selection of information, the media establish rules of public and political communication, impacting the formation or change in public attitudes. Generation Y grew up and entered the job market in such a world. And when people lose the ability to interpret something for themselves, they rely on experts to teach them what they should see (Deli\u0107, 2009: 34). In the society of the spectacle, “everyone is completely at the mercy of experts, their calculations and their assessments, which always depend on these calculations” (Debord, 1999: 183).<\/p>\n

        According to Livazovi\u0107 (2009), the media are an important agent of socialization. Despite being transient and difficult to describe, through long-term exposure their influence may result in the accumulation of new ideas, beliefs and attitudes which have the power to modify individual behaviour, depending on, primarily, the family environment (Livazovi\u0107, 2009).<\/p>\n

        Livazovi\u0107 (2009: 108-115) differentiates between long-term and short-term impacts of media on the behaviour of children and young people, and adds that short-term impacts appear shortly after exposure to media and may last up to several weeks. Long-term effects are cumulative and therefore more dangerous, although they are actually a direct consequence of short-term impacts. <\/p>\n

        However, they threaten to create a permanent system of beliefs, attitudes and habits active in the everyday pattern of life and behaviours in social interactions. The modern media and information society develops new levels of reality and opens up new approaches. Human agency in perception and consumption of media in the qualitative and quantitative sense is extremely important. The media are part of everyday life, throughout our lives, and some authors note the important role the media have in the formation of character from an early age.<\/p>\n

        It is therefore extremely important to act proactively. But is it too late? Especially if we take into account the intention of the 21st century to commercialize all tangible and non-tangible forms of human activity. Through this we have already destroyed the time for thinking and analysing essential values. Instead of the authority of knowledge, we passively let our individual intellectual autonomy be taken over by a media shaped reality.<\/p>\n

         <\/p>\n

        4. THE PARENTAL ROLE IN OVERCOMING THE DEGRADATION OF VALUES<\/strong><\/p>\n

        We have removed young people from the immediate world and equipped them with new forms of interaction, thus also pushing them into a gap between the virtual world and the real social world. Through this we have (almost) irreparably destroyed the significance of parenting in the sense of preparing young people for the outside world. The information society, the society of knowledge, as well as the mass media society, allow young people to choose their own social preferences. It is therefore no wonder that the level of their awareness is based on strict limitations within narrow walls of the supposedly wide and endless possibilities of the modern digital world. They have everything, and they have nothing.<\/p>\n

        Livazovi\u0107 (2009) for example notes that the functional educational aspect which is most present precisely in leisure activities, reveals to parents and educators the necessity of dealing professionally with the problem of media content to which young people are exposed. Mass consumption today is done individually, that is, every consumer is an unpaid worker who alone produces a mass man (Anders, 1996: 21).<\/p>\n

        The degraded quality of interactions within the family and generally decreasing values of traditional upbringing as a consequence of intense social change, point to the need to follow and scientifically determine the quality of time spent using media, since, by definition, every human activity entails social control (Berger and Luckmann, 1969: 59).<\/p>\n

        The focused prevention of externally caused behavioural disorders would strengthen primary educational factors (school and family), which need to justify and renew the lost trust of society in the power of educational efforts (Livazovi\u0107, 2009).<\/p>\n

        I would agree on this point and add that modern times, in which television, and radio especially, have become dying forms of public consumerism, losing in the marketing competition when compared to platforms such as the internet in general and social networks and video channels in particular, also require an adequate and immediate response by the society, ranging from lawmakers to the education system and parental participation. Society has yet to address the full extent of changes introduced by radio and television, while new forms of an increasingly aggressive technology are coming at their heels.<\/p>\n

        Buri\u0107 notes that the media can influence child and youth development. Information needs to have socially constructed meaning. Like gene technology, new media has the power to change the social world. The discussion on media and ethics today relates less to media culture of humanity and more to dealing with modern media. The relevance of this question is undeniable (Buri\u0107, 2010). Enabling young people to develop social relationships today presents a greater challenge for parents and schools than ever before, if we want to teach them adequate social skills and family values (Car, 2010). <\/p>\n

        In giving them digital development, we also exposed them to some risks. We have also dramatically reduced the amount of time we devote to children and young people, in families, schools, and institutions of higher education. It is therefore no wonder that hierarchy and relationship to authorities is in a dramatic state of collapse. The key values of today, such as, superficial education, combined with the great expansion and hyperproduction of information, interspersed with consumerism, are aggressively interwoven in the social development style of the young generations today. By dumbing down ourselves, we dumb them down as well, which has inconceivable consequences we justify by the freedom of choice in a competitive environment.<\/p>\n

         <\/p>\n

        5. CONSUMERISM \u2013 PSEUDO-NEEDS AND THE FUTILE SEARCH FOR HAPPINESS <\/strong><\/p>\n

        As we bear witness to the unstable political context, nepotism and corruption, the collateral victim is human freedom, as free thinking and choice are disappearing. At the same time, this is reflected in the failed attempt to achieve happiness through material possession. De Botton notes that today people consider themselves happy only if they have the same amount or possibly a bit more than those in their reference group, people with whom they grow, socialize and identify with in the public sphere (De Botton, 2005). <\/p>\n

        Consumption has become the main focus of social life (\u010coli\u0107, 2008). To own the tangible and lack the spiritual, appears to be the pattern for achieving happiness. There is no deeper analysis of ways to realize human needs and interests. \u010coli\u0107 exposes the motives for accumulating goods from a psychological perspective when he says these are not needs but wishes, which in their essence are limitless and insatiable (\u010coli\u0107, 2008). <\/p>\n

        Hromad\u017ei\u0107 sees a parallel between processes of socially constructed pseudo-needs and Debord’s concept of the society of spectacle. The construction of pseudo-needs is managed by mass media and advertising agencies which produce endless series of seductive advertising images for mass consumption (Hromad\u017ei\u0107, 2012). We thus subject future generations and are ourselves subjected to, the intolerant microcosm of our own ambitions which are based on evaluating success from a purely economic point of view. At the same time, we fail to understand the paradox we have found ourselves in. <\/p>\n

        Anders imaginatively explains this by describing the concept of a homeworker. While the traditional homeworker manufactured products in order to gain a minimum of consumer goods and leisure, the modern homeworker consumes a maximum of leisure products in order to help produce the mass man. Anders further explains how this process becomes paradoxical, as the worker, instead of being paid for his cooperation, needs to pay for it himself i.e., buy the means of production by the use of which he has agreed to be transformed into mass man. He therefore pays for selling himself, even his lack of freedom. He has to purchase the very unfreedom he himself helped produce, as it has also become a commodity (Anders, 1996: 21). <\/p>\n

        A critical discussion might be launched into these exchanges of one type of values for another, but the roots and sources of changes in the human mind when choosing one’s own needs, are to be found in man. Man created the civilization foundations for this new way of expressing and understanding value. Man gave precedence to the wish to “have” instead of “to be”, failing to understand the pressure of the inescapable illusion he produced. The shopping centre has become the centre of his self-realization. Bruckner calls it a “cathedral of superfluity”.<\/p>\n

        In these cathedrals of superfluity, our guilt is not in the fact we want too much, but that we want too little. Our only pleasure is in wanting what we do not need. (Bruckner, 1997). <\/p>\n

        Chomsky also believes that the starting point of such a reality is in propaganda, when he says that a society does not perceive propaganda as the dimension of media which has the greatest influence on that society (Chomsky, 2002). However, modern hyper-productivity compels Anders’s homeworker to consume. Bruckner notes that in response, the goods need to be transitory, their decomposing planned, their obsoleteness programmed (we probably all had our washing machine stop working precisely a day after its warranty expired). While possession represents permanence, our objects are seductive only as part of a short-term, limited series (e.g., a uniquely packaged perfume on special offer only for one month). They quickly fall out of fashion, momentarily replaced by new ones which shine for a little while before being replaced themselves (Bruckner, 1997).<\/p>\n

        The author sees consumption as a vicious religion, because we believe in the endless resurrection of things, with the supermarket acting as church, and advertising its gospel. He notes that the ability of things to last would actually make us miserable, rob us of a foolish pleasure and of a world which keeps changing so that we ourselves wouldn’t have to. (Bruckner, 1997). <\/p>\n

        Ali\u0107 calls this kind of “evangelical” advertising, “the final totalitarian ideology” (Ali\u0107, 2009: 117). Such advertising does not only include the traditional persuasion to consume particular products, it also means total manipulation through the overall manner and attitude towards social structures, resulting finally in the transformation of reality into a total lie. <\/p>\n

        It is clear that in their “escape from freedom”, manipulated individuals also feel a certain pleasure when they are “managed from the outside”. This means not taking responsibility, existing inside the safe space of the group, enjoying the illusion of freedom. (Breton, 2000: 141). These are the circumstances in which Generation Y develops, in giving up the freedom of choice to simplified preferences of individual limitations. Education plays a part in this process as well.<\/p>\n

         <\/p>\n

        6. EDUCATION AS A PROSPEROUS MARKET<\/strong><\/p>\n

        The role of “adults” is therefore extremely important, in the educational, advisory and legal sense. Kink notes that media images often feature young users of new technologies as some digital technology-dependant natives who are endlessly agile in using a multitude of information sources thus gaining a natural capacity for survival. As they were born in the era of new technologies, the students have in many ways surpassed their teachers. This however does not mean that we do not need adults in the role of educators and teachers (Kink, 2009).<\/p>\n

        Ili\u0161in (2003) notes that, even though teachers and schools are often named as the supposed main moderators for media capabilities of children, parents are still the main media socializers. Research points to a significant problem, as only 10% to 15% of children talk with their parents about what they have seen, heard or read, which is less than they share with their peers (Ili\u0161in, 2003, in: Ko\u0161ir et al., 1999). <\/p>\n

        Habermas notes that in the reconstructed modern system of information and communications, young generations are overloaded with information, and information overload can negatively impact the development of the “public sphere” and democracy itself since inadequate information prevents citizens to participate, instead encouraging them to be passive (Habermas, 1989). <\/p>\n

        Does greater exposure to information make people more informed? Only in a superficial sense. I wonder however about the power of concentration in these times of mass production and consumption of too much information. I believe it eludes us. There is no interest for something that needs to be analysed for a longer period of time, because there is no time or will. This is the characteristic of millennials that I already mentioned: to consume something right here, right now, at the superficial level of perception, and then erase it from memory instantaneously to make room for new information. <\/p>\n

        An artificial impression is induced in people that they are led by their own feelings and instincts. They supress awareness of something they would otherwise be aware of because they are afraid, their main emotion is fear (Fromm, 1980: 110). In this case they fear rejection and failure which would lead to isolation from a society in which only universal patterns of behaviour are accepted, never individual ones. <\/p>\n

        Bognar for example demands deep changes in the education system, particularly at the didactic level. He believes we should teach new generations about the efforts made by previous generations in overcoming their own misconceptions (Bognar, 2007). Today, school has become a pastime, a superficial presentation of information. Bauman (1988) agrees that the market has transformed the consumption of information into a pleasurable amusement, and education has become just one of the many ways to have fun. This is evidenced by the way in which generations of today “learn”. They learn things online, from their “invisible” friends and not from teachers, they use only content that brings them pleasure or that helps them make their own conclusions on the necessity to consume. They are not interested in sources, only form, without content. For Generation Y there is a difference between knowledge and information. <\/p>\n

        They are known as the most educated generation, although in fact they merely own information. This knowledge then does not exist for the sake of knowledge, but for the sake of being used for profit and to satisfy the needs of the prosperous market, as Liessmann calls it.<\/p>\n

        They have a whole range of tools at their disposal, which previous generations could not even imagine. There are online search providers such as Google, discussion platforms in the form of blogs and forums, new distribution channels like Wikipedia. They use all of these merely as consumers of an instant supply and demand, not in order to think about the world around them, let alone for a deeper understanding of social processes.<\/p>\n

        What are the benefits of this type of consumption? It produces reduced understanding of the world with the purpose of greater consumption. This includes goods of all kinds, aspiration to materialism, quick earnings, instant pleasure, a consumerist lifestyle in general. And despite the great availability of information, friends and acquaintances on social networks, research shows that social engagement, interest for the social-political arena as well as culture and history, remain total mysteries for young generations.<\/p>\n

        Market fundamentalism and the society of knowledge, aided by an institutionalized marketing philosophy, together work on building the dubious structure of the global society of knowledge (Deli\u0107, 2009: 32). In the name of educating the global society of knowledge, only one dimension of globalization, the economic one, comes to the fore as universal, lifesaving, good-intentioned, self-evident, coherent, unproblematic, scientifically legitimate and justified (Deli\u0107, 2009: 32).<\/p>\n

        There is no room for thinking in modern schools, Liessmann (2008) explains, taking Nietzsche’s ideas as his starting point. Education is dominated by projects and practice, experiences and networking, excursions and short trips. The secret programme of modern education appears to be the insistence on not thinking for oneself, of ensuring that the community establishes modalities of production for individuals capable of understanding, linking and maximally adjusting their functioning within the current postmodern narrative. <\/p>\n

        For Liessmann the society of knowledge has no connection to what has been the European tradition since ancient times, in the sense of virtues, discernment, practical knowledge, and finally wisdom. In this society nobody learns something for the sake of knowledge but for the sake of learning. In political discourse, the society of knowledge is supposed to be the same as information society. In dominant discourses on globalisation, information society is relatively carelessly and hastily equated with the society of knowledge (Deli\u0107, 2009: 35).<\/p>\n

        The popular idea that we live in an information society and therefore a society of knowledge, can justly be contrasted with the idea that we live in a “misinformation society” (Liessmann, 2008: 24-27). Knowledge is more than just information. Knowledge is a way of perceiving the world: realizing, understanding, conceiving. Knowledge is not unambiguously focused on achieving a purpose. Information is interpretation of data, while knowledge may be described as interpretation of data in regards to their causal correlation and inner consistency (Liessmann, 2008: 24).<\/p>\n

        This is rarely the case today. Modern generations have the possibility to simply shut down communication and ignore information if they consider it a burden or a negative topic. The orientation of the modern distribution of knowledge exclusively on new technologies, has actually limited it with its multimediality. Liessmann (2008) states that historical data which are not linked according to the logic of historical sciences and their context but are grouped in accordance with political and emotional circumstances, do not result in knowledge but in ideology. This answers the ubiquitous research today on the growing introversion and decreased social sensitivity of new generations.<\/p>\n

        Bognar (2007) calls for a modern recognition of Pestalozzi’s triad of head, heart and hands, as well as a critical analysis of the future problems and challenges faced by “wise young heads”. How will that be possible if we ourselves imposed on them the communicative maxim that information is enough?<\/p>\n

        Adding to this superficial modern interpretation of the society of knowledge I must go back to the beginning of this paper and the Kahoot<\/em> app as a mirror to current goals of learning. We ourselves have failed in the face of demands by new generations, as we have enabled them to be free from the pressures of a traditional type of education. Is Kahoot <\/em>enough? Liessmann makes the parallel with “Who wants to be a Millionaire”. <\/p>\n

        Ever since this show gained recognition, modern teachers no longer relied on boring exams to find out whether their students really understood the lesson, but rather on guessing games modelled after this quiz, Liessmann reported more than ten years ago. Kahoot<\/em> is the modern version of the “Millionaire” game. These formats indicate that modern education is at the level of mass media entertainment, which Liessmann sees as a distinct form of ignorance, while the knowledge shown, contrary to its intentions, remains non-binding and unrelated, as it has become completely external (Liessmann, 2008: 12). <\/p>\n

        Knowledge and education are no longer the goal, however strange this might sound. Rather, they have become a means which does not require any further analysis as long as it can be justified as a means for prosperous markets, qualification for a job position, mobility of services, economic growth. <\/p>\n

        In the society of knowledge, educated people can never be seen as the final goals of the required permanent process of gaining knowledge. These ideals are of course neither wise men nor traditional scientists, instead there is only the brain<\/em> which recognizes industrial possibilities of implementing complex research quicker than its competing equivalent in Shanghai (Liessmann, 2008: 70).<\/p>\n

         <\/p>\n

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

        Is Kahoot <\/em>really enough? Modern science has not managed to achieve a minimum of consensus on the definition of the postmodern, let alone find a solution for its essential products. We are however witnessing a new mental order of a primarily capitalist character. While many authors analyse this particular phenomenon of postmodern society and examine its causes, the consequences and solutions of constructing a virtual world entangled in interests of neoliberal capitalism, are only touched upon. There are no solutions. If Kahoot<\/em> or “Millionaire” are considered solutions, so be it. But this might mean we are creating isolated individuals unprepared for a deeper examination of society and social processes. Are we not thus creating digital addicts, unaware of manipulations of the media-marketing concept of the modern world? It is also absurd and ironic that civilization has let the products of its hard-won and permanent progress to a dissolution of the essence. Dissolution of the essence for the benefit of consumer nonsense, based on a deficient education system \u2013 this is the world we leave to future generations, with the assumption they have gained a great starting point for making the future world regress even further as they strive for prosperity. Kahoot<\/em> unfortunately, is quite enough for a world like that.<\/p>\n

         <\/p>\n

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

        Ali\u0107, S. (2009). Mediji, od zavo\u0111enja do manipuliranja.<\/em> Zagreb: AGM.<\/p>\n

        Anantatmula, V. S., Shrivastav, B. (2012). “Evolution of Project Teams for Generation Y Workforce”. International Journal of Managing Projects in Business<\/em>, Vol. 5, Issue 1, pp. 9-26.<\/p>\n

        Anders, G. (1996). Svet kao fantom i matrica, Filozofska razmatranja o radiju i televiziji. <\/em>Novi Sad: Prometej.<\/p>\n

        Baudrillard, J. (2012). “Iznad istinitoga i neistinitoga”, in: Katunari\u0107, D. (ed.) Carstvo medija<\/em>. Zagreb: Litteris.<\/p>\n

        Bauman, Z. (1988). “Postoji li postmodernisti\u010dka sociologija”. Revija za sociologiju<\/em>, Filozofski fakultet, Zagreb, Vol. 19, Issue 3, pp. 309-323.<\/p>\n

        Berger, P. L. & Luckmann, T. (1969) Die gesellschaftliche Konstruktion der Wirklichkeit<\/em>. Frankfurt am main: Fischer.<\/p>\n

        Bognar, L. (2007). “Pedagogija u razdoblju postmoderne”, in: Previ\u0161i\u0107, V. et al. (eds.) Zbornik radova I. kongresa pedagoga Hrvatske “Pedagogija prema cjelo\u017eivotnom obrazovanju i dru\u0161tvu znanja”.Zagreb: Hrvatsko pedagogijsko dru\u0161tvo, pp. 28-40.<\/p>\n

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         <\/p>\n

        Generacija Y u rascjepu izme\u0111u izazova dru\u0161tva znanja i zahtjeva prosperitetnog tr\u017ei\u0161ta<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Rad se bavi \u010desticama od kojih je dana\u0161nje dru\u0161tvo satkalo rascjep u koji je dovelo mlade generacije, a znanstvenici, mediji i javnost nazivaju ih genaracijom Y, rascjep izme\u0111u dru\u0161tva znanja, u svoj svojoj pojmovnoj siroma\u0161nosti i apsurdnosti te dru\u0161tva medija s jedne strane i zahtjeva prosperitetnog tr\u017ei\u0161ta, s druge strane. U prvom dijelu rada bit \u0107e predstavljeni pojmovi i glavne markacije generacije Y, dru\u0161tveno-povijesni kontekst njihova odrastanja. Potom \u0107e biti govora i o medijskom koloritu koji reproducira, ali i u velikom dijelu i fabricira uvjete i okolinu u kojoj ove generacije egzistiraju, u kojoj su podvrgnute tehnolo\u0161koj socijalizaciji, dakle, socijalizaciji ne jedni s drugima, ve\u0107 s tehnolo\u0161kim dostignu\u0107ima preko kojih me\u0111usobno ostvaruju tek kontakt, a ne ljudski odnos, kakav su poznavale ranije generacije. Nadalje, dotaknut \u0107e se i tehnologija, koje je uvrije\u017eeno zvati \u201enovima\u201c, iako, dok pi\u0161em ove retke, neke od njih su ve\u0107 zastarjele i zamijenjene novijima. Toliko brzo se svijet mijenja.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> generacija Y, dru\u0161tvo znanja, konzumerizam, mediji.<\/em><\/p>\n

         <\/span><\/p>\n

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

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

        \n  11(20)#3 2022<\/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

        DOI 10.46640\/imr.11.20.3<\/a>
        \n UDK 1:316.774
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 12.1.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

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

        Faculty of Dramatic Arts in Belgrade
        \n Belgrade, Serbia
        \nvuksanovic.divna@gmail.com<\/p>\n

        Philosophy in the Time of Media and
        \nTechnological-information Madness<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (577 KB), English, Str. 3285 – 3300
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        From the point of view of the philosophy of the media, the text problematises the possibility and practice of thinking (self-awareness) in the time of media domination and the rule of technological-information \u2018madness\u2019. Also, in the background of the presentation plan, the article touches on the critique of the so-called media-based capitalism; it confronts the concept of \u2018madness\u2019 that we encounter under the veil of activity of the rational (instrumental) mind and modern media on the one hand and the thinking subject, his theoretical and practical possibilities, on the other. All this is demonstrated on the example of the (mis)use of artificial intelligence in modern media, which most often acts on social networks through two phenomena: the \u2018epistemic bubble\u2019 and the \u2018echo chamber\u2019. Based on the performed analyses, it is shown that the philosophy of the media, as an interdisciplinary oriented, theoretical critique of the media and mediated reality, has the opportunity and obligation to position itself towards technical inventions such as artificial intelligence used in the media, thus contributing to self-awareness and practice, both of the own discipline and of the social community in which the philosophy of the media critically participates.
        \n<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> philosophy of the media, artificial intelligence, social media, madness, capitalism.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        ‘Anyway, so nobody wanted to read about capitalism.’ <\/em>
        Shoshana Zuboff<\/p>\n

        Each period, directly or indirectly, re-examines its own ‘philosophy’, and it would be desirable for its philosophy to reciprocate, provide a problem and critical review of the relevant topics of the contemporary period. The philosophy of the media, as a discipline which in essence examines the relation between philosophy and the media, is increasingly moving towards the focus of attention because of the fact that our period is to a great extent intermediated by technology, that is, mediated. As a result, some philosophers dare to claim that we live in a media-supported capitalism, or even more radically, in a media-based capitalism.<\/a>[128<\/strong><\/span>]<\/sup><\/a> Regardless of whether we interpret philosophy through the prism of dialogue and dialectics, monadology and geometrics or as a mirrored and reversed world, it becomes clear to most interpreters that philosophy today navigates the meanders of media culture, which, as it seems, significantly influences the direction of its further development. Even if philosophy as such does not know anything or worries too little about it, there is the philosophy of the media to open the door wide to possible discussions in the domain of this issue. In addition, as the philosophy of the media, as everything else, cannot develop abstractly, in a vacuum, it needs to follow the developmental flows of science and technology, which, given that they are the core of contemporary mediatisation, have a significant impact on huge social transformations that we witness today. In other words, philosophy of the media is the area of thought that needs to communicate to us the so-called ‘news from the unconscious’ as is usually colloquially put in these parts. In case of the media, it needs to be the self-awareness of the philosophy, the road sign that reveals the direction of the development of philosophy in the today’s time; in this task it is surely not the only one, but it is important for the survival and relevance of philosophy in our time.<\/p>\n

        What is the environment of today’s philosophy? It is, namely, claimed that we live in the era of the so-called post-truth, both in the media and in social communities<\/a>[129<\/strong><\/span>]<\/sup><\/a>, which have, as it seems, sprung from ‘grand narrations’ (Lyotard), to which we also count the truth. We need not be especially reminded of the fact that philosophy was, so to speak, always connected to the subject of truth, however it might be interpreted. Nevertheless, since the appearance of post-modern thinkers to date, the truth in philosophy has become a different matter; not only has it been dethroned and then relativised, but it has been pushed far to the background by other interests, connected predominantly to language and its derivatives. In this sense, we may ask how language is possible without truth and answer right away \u2013 it is already there, present, both in the media and in the domain of initial reality, that is, in the era of the rule of post-truth, of hi-techcapitalism and artificial intelligence (AI). In the contemporary era, influenced by capitalism and new technologies, human beings are modified, social communities are modified, so why would not the truth be modified: human beings use genetically modified vital organs from animals<\/a>[130<\/strong><\/span>]<\/sup><\/a> or are even kiborgized, social communities have been sinking into despair, virtualisation and endless simulation chains, while the media promote manipulation as the ruling mode of communication, fake news, trolling, IT and cultural wars, echo chambers, etc. If the truth has thus far been an important stronghold for re-examining and establishing the relation to reality (media, social, ontological, etc.) its suspension removes the criterion for establishing what is real and what is an illusion (‘aesthetic illusion’), which, in addition to other difficulties, leads to the problem of non-differentiation of the important from the unimportant, of the real from the illusory, the truth from a lie, etc. Such non-differentiations are very much like the delusions of a psychotic, since they have to do with beliefs that, in principle, do not generate facts, that is, the truth. This goes both for the so-called global media space as for individual social communities, as well as the citizens that participate in them. <\/p>\n

        Under these circumstances, the question is what happens to consciousness in the era that negates truthfulness as the relevant element of judgement. The answer needs, as it seems, to be sought in the old attempts of the IBM (short for: International Business Machines) to replace the consciousness of human origin with the collective consciousness of computer technologies. The evidence for this is to be found, for example, in the participation of this company in the World’s Fair in New York in 1964. It was then that the Fair was opened to the public, its exhibition halls counting millions of visitors from around the globe in the next two years. In the words of Richard Barbrook: ‘Every section of the American elite was represented at the exposition: the federal government, US state governments, large corporations, financial institutions, industry lobbies and religious groups.’<\/a>[131<\/strong><\/span>]<\/sup><\/a> In a sentence, the exhibition was visited by almost all significant representatives of the social elite that shapes the (class) consciousness from above, that is, from the position of power, parallelly with manufacturing relations. <\/p>\n

        At this important event, in global terms, the IBM presented itself with a special construction supervised by the Finnish architect Eero Saarinen.<\/a>[132<\/strong><\/span>]<\/sup><\/a> The strategy for the exhibition and at the same time IBM’s business strategy had already then concentrated not so much on the sale of hardware but on anticipating the future of artificial intelligence: ‘Rather than aiming to produce ever greater numbers of more efficient machines at cheaper prices, the corporation was focused on steadily increasing the capabilities of its computers to preserve its near-monopoly over the military and corporate market. Instead of room-sized machines shrinking down into desktops, laptops and, eventually, mobile phones, IBM was convinced that computers would always be large and bulky mainframes. The corporation fervently believed that \u2013 if this path of technological progress was extrapolated \u2013 artificial intelligence must surely result.’<\/a>[133<\/strong><\/span>]<\/sup><\/a> In addition, at the exhibition in question, the IBM promoted something else, which, as the ideology of the future, ran through the filters of lack of understanding \u2013 the unification of (class) consciousness, its synthetisation into one, in the domain of artificial intelligence. <\/p>\n

        On this Barbrook said the following: ‘At the 1964 World’s Fair, the corporation’s pavilion emphasised the utopian possibilities of computing. Yet, despite its best efforts, IBM couldn’t entirely avoid the ambiguity inherent within the imaginary future of artificial intelligence. This fetishised ideology could only appeal to all sections of American society if computers fulfilled the deepest desires of both sides within the workplace. Therefore, in the exhibits at its pavilion, IBM promoted a single vision of the imaginary future, which combined two incompatible interpretations of artificial intelligence. On the one hand, workers were told that all their needs would be satisfied by sentient robots: servants who never tired, complained or questioned orders. On the other hand, capitalists were promised that their factories and offices would be run by thinking machines: producers who never slacked off, expressed opinions or went on strike’.<\/a>[134<\/strong><\/span>]<\/sup><\/a> So exploitation would be preserved in the foundations of ‘material’ production, while class consciousness would be (Hegel-like) dissolved in one \u2013 the area of artificial intelligence. Barbrook’s point was rendered in the same tone: ‘If only at the level of ideology, IBM had reconciled the social divisions of 1960s America. In the imaginary future, workers would no longer need to work, and employers would no longer need employees. The sci-fi fantasy of artificial intelligence had successfully distracted people from questioning the impact of computing within the workplace. After visiting IBM’s pavilion at the 1964 World’s Fair, it was all too easy to believe that everyone would win when the machines acquired consciousness …’<\/a>[135<\/strong><\/span>]<\/sup><\/a><\/p>\n

        So what kind of consciousness are we talking about here? Can machines \u2013 in our case the media \u2013 be aware? First, let us be reminded of the fact that the notion of consciousness was until not so long ago reserved for human beings and their characteristics\/potentials\/powers, as well as for God, history, nature \u2026 In recent times, that some theorists define by using the term ‘posthumanism’\u00a0 or ‘transhumanism’ the notion of consciousness\/intellect\/ratio, and even sentiment is increasingly more often, as earlier said, associated with machines. However, judging by the origin of this so-called consciousness it may be concluded that it is, ultimately, the sprout of human ratio that strives to fight for status and autonomy from other iterations of consciousness we mentioned. The question ‘floating’ above consciousness defined in this way, which is in fact, humanoid in its origin, that is, secondary and derived, although has elements that qualify it as candidate among other types of consciousness, is a Kant’s question in its essence. This means that it is practically impossible to designate something as consciousness unless it is not based on self-awareness, which must be able to follow each action (that consciousness performs). Does in this sense, the ‘consciousness’ of machines, that is, the media, have control over its action or is it in the hands of man, that is, of the capital? At best, the consciousness of machines (the media) is talked about in the sense of their recognition of internal and external environment, and if it is the case that computers, machines and the media are able to differentiate their environment, such consciousness is identified as ‘being aware’. Although it is not a consciousness whose origin is biological, but artificial, under certain conditions, some researchers think, such machine behaviour may be characterised as (self)awareness.<\/p>\n

        Still, the issue of recognisability of (self)awareness of machines, that is of a ‘sign’ (Kristof Koch)<\/a>[136<\/strong><\/span>]<\/sup><\/a> continues to be raised, that shows that systems at hand are not only intelligent but aware, that is, self-aware. In the context of such quest for solutions, contemporary IT experts are trying to establish criteria for testing machines that could bear the name ‘conscious machines’. This gave rise to the idea of developing a ‘system of procedures’ to examine the characteristics of machines, primarily in order to examine their consciousness. It is interesting, however, that these procedures, as measures for assessment have taken into consideration also the ‘body’, that is, the anatomy of machines, as well as their communicability and self-recognition in the mirror, empathy, ability to lie.<\/a>[137<\/strong><\/span>]<\/sup><\/a> This, in practice, means that they have recognised not only the body as the moment of consciousness and vice-versa but what is more important \u2013 the relationship and interconnectedness between the consciousness and the body. This would, in an unusual way, at least when it comes to the media, mean that McLuhan’s premonition that the medium (i.e. media structure\/technology\/configuration) is the message, has been realised. Moreover, now the consciousness or self-consciousness would be deprived of the body, in the organic sense of the word, and the ‘relationship’ between the body and the consciousness would resemble more a disconnection than to a connection. As a result, we would say that the case here is not of some autonomous consciousness of machines that think autonomously, learn and create content but of some non-physical and special, artificial creation that operates in the service of technological (media-based) capitalism. Seemingly autonomous, this consciousness is only an instrument of operation of other consciousnesses but without self-awareness, simply put \u2013 pure fiction or algorithm.<\/p>\n

        On the other hand, while IT experts and non-critically oriented post- and transhumanists favour evidence of the consciousness and self-awareness of machines, all human actions on the internet and other networks come down to facts (data). The entire media space became a place for the production, exchange and consumption of facts for the purpose of capital accumulation and profit making.<\/a>[138<\/strong><\/span>]<\/sup><\/a> Simply put, humans are recognised by the consciousness of artificial intelligence, that operates in the media, only as data, and that act of recognition is interpreted precisely as evidence of intelligent behaviour towards one’s surroundings \u2013 a symbol of machines. In other words, the algorithms of artificial intelligence are abruptly becoming self-aware, while the intelligent behaviour of people on different networks is interpreted as pure fact and not consciousness or self-consciousness; which is monitored and at the same time sold on the market for data. <\/p>\n

        This monitoring includes being monitored by machines in the literal sense of the word, by using advanced, so-called eye-tracking technologies that tracks the direction in which a person is looking, as well as the time during which a person’s eyes are fixed at each segment of a computer monitor, which enables interest mapping; this is later used for forecasting, sale and exploitation of collected information. Last year, artificial intelligence was used for the first time to differentiate among emotional expressions on the faces of media consumers, which was predominantly applied in the educational system, i.e. during the so-called online classes.<\/a>[139<\/strong><\/span>]<\/sup><\/a> Furthermore, it has been claimed that these technologies, synthetised into one are also increasingly used in following activities: ‘The importance of this technology should not surprise us because the movement of a person’s eye can divulge exactly where their attention is directed, as well as how they feel. Many science and business disciplines use this technology today, from cognitive research and sociology to the automotive industry.’<\/a>[140<\/strong><\/span>]<\/sup><\/a> This means that like in many activities controlled by the media, in Hegel’s terms, a slave \u2013 master relationship has been activated here, with people, increasingly becoming slaves to machines (which is currently the highest range of their consciousness), by being exploited\u00a0 as optical, emotional or any other data. <\/p>\n

        In the segment of the media, the time of Covid-19, has, for instance, shown that a large number of former truth-seekers in the media, that is, journalists, is replaceable, and that their activities, can allegedly, partly be carried out by artificial intelligence. This goes primarily for collecting and selecting data relevant for daily news or analysis. Software activities, that should substitute the work of journalists in mainstream media (MSM) and on interne portals, or upgrade it by providing fast translation services, photo authenticity verification, etc., have been used by the individual media, as for instance the Canadian Press, to strengthen their business policy during the pandemic and aid timely provision of information. Although it has been claimed, despite the fact that during the pandemic Microsoft alone has laid off a large number of journalists, that the role of artificial intelligence in the contemporary media is not to push out humanoid journalism<\/a>[141<\/strong><\/span>]<\/sup><\/a>, we are witnesses of the transformation of this profession into something else \u2013 instead of the quest for truth, journalism, is increasingly transforming into PR arrangements, fact checking, etc., which opens up room for a widespread implementation of artificial intelligence at the service of implementing new business policies of media companies. The case here is that events are reduced to so-called facts, with the concept of truth being neglected in the interest of successful operation. So, when the future of journalism is at stake, Francesco Marconi thinks that it is turning into some kind of information science, and is, in this sense, closer to mathematical truth than knowledge belonging to area of social and humanistic sciences.<\/a>[142<\/strong><\/span>]<\/sup><\/a><\/p>\n

        From a common-sense point of view, the claim that the philosophy of the media, in addition to new communication technology also has to deal with madness sounds as nonsense. However, if the media as intelligent machines borrow our bodies and at the same time watch us, analyse us, communicate us, meet our wishes and needs, it is worth asking if the world of machines has gone mad or we have. In fact, many media platforms, especially in the era of the pandemic, became self-centred, that is focused on medical data on their users (data-centric platforms), which has been justified by saying that smart technologies take care of our health, both public and individual. In other words, these platforms are presented in the public as instances that create our future values, taking care of the health ecosystem, which, although non-physical, in the organic sense of the word, qualifies them as intelligent and (self)aware. However, precisely these platforms are recognised by IT experts as physical in their origin (‘human body is the biggest data platform’),<\/a>[143<\/strong><\/span>]<\/sup><\/a> in the sense of human data that constitute them and constantly maintain them. And despite, allegedly, good intentions, Shoshana Zuboff, when speaking of the context of events, feels that, on the whole, this is a case of the unhealthy side of capitalism.<\/a>[144<\/strong><\/span>]<\/sup><\/a> Not to mention that, in our opinion, capitalism, which promotes social inequality and injustice is a disease as such and that there are no reforms that could heal it in its essence, except deep-rooted and systemic, global changes, all of the above-said can be a reason to examine the technologically-supported madness of capitalism, which, among other things is reflected in monitoring and exploiting users, which in the case of social media, fall into one.<\/p>\n

        Here we will thus examine this media component (the moment of ‘madness’) linking it no less than to the influence of artificial intelligence on the area of media activity. Although, prima facie<\/em>, it seems that thematising the penetration of artificial intelligence into the area of media interactions and social relationships is a dystopian discourse with no special link to philosophy, this should, nevertheless, be the topic of the philosophy of the media because it tackles those areas of examination that pose a real challenge in today’s time. When it comes to madness, the question raised is what exactly it refers to, viewed in the context of the current relations between philosophy on one side and the media on the other. Traditionally speaking, technics and technology have been treated as neutral in value relative to their use in the context of social relations. How then could it happen that artificial intelligence in the media may be treated as a form of technically generated madness that has become characteristic for contemporary times? <\/p>\n

        May be it is, really, too early to say that artificial intelligence used in the media is to blame for certain types of depersonalisation and derealisation of social media users, which may be characterised as losing the ground beneath one’s feet or to a certain degree, instrumentalisation and loss of one’s mind. In the history of the media, as consumers have been falling more and more under their influence, it has been noticed that the so-called cognitive dissonance has arisen, i.e. an irreconcilable difference between reality itself and its perception through intermediation of the media. This speaks once again in favour of the fact that technology itself, unless misused is not to be held responsible for the existing ‘media madness’, but that this is rather an issue of a broader system in which the most different possible forms of madness are harnessed into capitalist manufacturing and social relations.<\/p>\n

        First of all, it should be stressed that artificial intelligence as applied in the media, operating on the basis of the law of likelihood, represents, generally speaking, an occurrence intended to partially or fully replace human intelligence in the media, from the aspect of opinion, action and decision-making. The wide spectrum of its possible uses, ranging from creating agency news, announcing different TV shows, assisting in the selection and placement of appropriate media content, etc., all the way to abuse for the purpose of oversight (spying), blackmail and other forms of manipulation that are especially characteristic for the operating domain of the so-called social networks and the media, indicates that the activities of artificial intelligence have become widespread in the field of the contemporary media.<\/p>\n

        With regard to this, a simple question arises \u2013 how does artificial intelligence operate in the contemporary media? Up until recently, that is until the beginning of its more frequent use in the media, there was a belief that media content was created by journalists, artists and creative individuals and that decisions on its placement (broadcasting) was left to editors and that consumers noticed and experienced such content as a special type of answer to reality. The use of artificial intelligence in the segment of the so-called social media has changed things significantly \u2013 because, as users watch the media, now the media are able to watch, analyse, create content and learn from the users. The media perform such activities through intermediation of the so-called intelligent agents.<\/a>[145<\/strong><\/span>]<\/sup><\/a> In reality, without our knowledge and consent, intelligent agents supervise and ‘steal’ our activities, cheating us into thinking that such ‘scanning’ is the so-called new normality to which we should get used to.<\/p>\n

        In addition to observing us and learning from our experiences, the new ‘generation’ media agents are programmed to be able to produce adequate media content and, as already mentioned, make autonomous decisions. In this way, artificial intelligence, with the help of agents, becomes not only the data ‘miner’ (collector) and selector, but also their creator, as an autonomous decision-maker. The latter certainly does not only have to do with technical decisions, it also implies the activity of decision-making in the ethical domain \u2013 be it an issue having to do with everyday life or with placed media content. In this way, among other things, human beings treated as facts, become a resource for exploitation, as is potentially, also the self-awareness of machines. <\/p>\n

        In our view, those are systemic changes in contemporary media that are not only technical in character, but these are main tendencies moving toward substituting all human behaviour with artificial behaviour. Of course, the media are not an exception, and the possibility of reaching moral decisions by artificial intelligence not only an issue of concessions in judgment but also in generating profit. For example, a database connected with ethical ‘training’, paves up the road to systems of artificial intelligence being trained for managing human values. So, for instance, the text under the name Ethical AI Matches Human Judgements in 90 per cent of Moral Dilemmas<\/em>, stresses the importance of such challenges for machines, especially computer programmes, because in the future not only can they help people reach the appropriate decisions, but for some individuals this can become ‘a life or death issue’.<\/a>[146<\/strong><\/span>]<\/sup><\/a> In short, rational agents, which at the same time may become agents for the majority of moral issues related to human existence, in certain situations may autonomously decide on key moral issues for human lives with potential margin of error of some 10 percent. It has also been envisaged that such programmes be put into mass use and be used for commercial purposes.<\/p>\n

        So, if artificial intelligence or its agents may be characterised as those artificially generated entities (in the media) that produce content or reach autonomous decisions in relation to received goals, it is clear that the future of the so-called new media may, to a great extent, be determined by their systemic use. Further, as for the issue of madness, we may sense that supervising media intelligence, with its sensors, likelihoods and assessment not only may cause uneasiness resembling paranoia, but that one is right to ask what is real and what artificially manufactured and what kind of rationality gathers our data, creates certain content for us and values, and finally, forms our behaviour both in the media and outside the media. In addition to the fact that ‘spending’ excessive time in the world of the media, as it is claimed, potentially leads to addiction and\/or increases depression, delegating the functions of our thinking, creation, judgement to artificial entities in the media we risk ‘succumbing’ not only to the so-called digital dementia<\/a>[147<\/strong><\/span>]<\/sup><\/a>, attention disorders or amnesia (which are here not diagnoses in the strict sense of the word, but allusions to the danger of the transformation of the human brain and neuron connections under the influence of the overall digitalisation from the 1980’s onward, especially when so-called digital natives are concerned (Prensky, digital Natives<\/em>)), which are widely discussed among contemporary neuroscientists, psychiatrists and media psychologist, when the use of digital technologies is concerned such as smartphones, tablets, video games etc., but also to the relative or full alienation from reality and to inability to recognise the difference between the media and reality, which is enabled by the VR (virtual reality<\/em>) technology (the example is the new network Meta, developed from Facebook) or artificial intelligence used in the media. <\/p>\n

        Madness, as already known, is not a static but a dynamic category. Disease too is not only a matter of individual existence but of the collective as well, but also of historical contextualisation. A sick society whatever we might consider under this syntagm, and the roadmap are Fromm’s teachings on a sane society<\/a>[148<\/strong><\/span>]<\/sup><\/a>, by definition also determines sick individuals. However, madness and mental disorders of today are not only the thing of social norms but also of the influence of the media and artificial intelligence on the sphere of social life and individual lives of today’s people. In the context of deliberating the so-called media existences of which we wrote earlier, supplemented by the operations of artificial intelligence in the media, we can today speak of the deterritorialization of madness, which no longer ‘attacks’ either the individual or a particular society, or individual media, but all layers of human reality together, and analogous to the deterritorialization of the reality itself, that is, of its transfer, partially or in full, to the media reality.<\/p>\n

        In this reality, as already known, not only are there ‘ordinary’ media wars, but these deterritorialized wars also include artificial intelligence. The competition created in relation to the use of new information technologies in the media, such as AI but for commercial purposes (market wars) has gradually been transferred to media wars of greater intensity, which is primarily enabled by artificial intelligence. Some interpretations put AI in the centre of global wars in the media<\/a>[149<\/strong><\/span>]<\/sup><\/a>, since some states continuously strive to incorporate best quality AI technology in the media for the purpose of generating added value and not just that. The financing of the development and the use of artificial intelligence in the media is also connected with military research and development of new communication technologies<\/a>[150<\/strong><\/span>]<\/sup><\/a> that media follow, as consciousness of their own environment. <\/p>\n

        Further, as the feature of artificial intelligence used in the media or in general is, increasingly, its emancipation from people and independent decision-making and content creation, the question has arisen who and in what way directs its operation, and can it be directed at all, and of course, manipulated, which seems to be the dictum<\/em> of the near future. In other words, this question requires researchers to seriously and thoroughly deal with the prevention of information wars that would be waged among artificial intelligences.<\/p>\n

        To understand what is happening in our environment, i.e. to take the necessary view, it is necessary to previously understand the basics of artificial intelligence in the media. In this sense, one of the tasks of philosophy of the media is to monitor the development of the contemporary media ambiance and detect the exceptionally fast changes in it and then react to them in a problem-solving and critical manner. With this in mind, we will here explain two standard examples of how artificial intelligence operates in the social media, which show that some technical knowledge is required to recognise, and then possibly, put into question its, thus far, insufficiently examined and legally unregulated operation.<\/p>\n

        The examples that are, let us say, listed in the latest theoretic works on the use of artificial intelligence in digital media and primarily on social networks such as Facebook, have to do with the new epistemic climate in which two phenomena arise: the epistemic bubble and the echo chamber.<\/a>[151<\/strong><\/span>]<\/sup><\/a>\u00a0 This newly created ambient for digital interactions is interpreted through the prism of one completely conflict epistemology, which is a result not only of the failure of truth in the media but also of its replacement with the cacophony of different interpretations of reality in which science, politics, technology and citizens, that is, social media users participate equally, in global terms. This latest crisis of epistemology is characterised by new terminology that describes them. Disinformation dissemination in the media is mostly blamed on fake news, scepticism towards the scientific episteme<\/em> became the main tool of ‘post-truth politics’, while the widening of political divisions is, allegedly, a consequence of unruly echo chambers, and all this arose in the context of the spread of the so-called infodemic. <\/p>\n

        An epistemic bubble is a media and social structure in which other relevant information have been left out from communication because of the operation of artificial intelligence, mostly accidentally. Such information sequencing by AI, viewed in the context of contemporary media, is a result of the use of artificial intelligence to individualise search results based on social groups to which the consumer of the media content belongs. Such selectivity increases the degree of likelihood that the relevant information will be extracted from search result, unless it is already known within the group. Therefore, the epistemic bubble, it is claimed, is an unstable structure that can easily burst when new information become available to users. Although the relevance of media content in practice does not coincide with what it is true, epistemic bubbles demonstrate the lack of what is important for communication exchange within a certain group, and this means that they remove us further from the truth that, actually, constitutes each episteme<\/em>.<\/p>\n

        Echo-chamber is also a cognitive structure related to the activity of artificial intelligence within one social group gathered in a digital media space. In contrast to the epistemic bubble, in this social structure relevant information is actively excluded and discredited. Namely, members communicating in an echo-chamber most often share an extreme distrust of outside sources of information, while at the same time, mostly do not doubt the information coming from the group. In comparison with the epistemic bubble, here it is oftentimes the case that the very confrontation of participants in the group with facts and evidence is not sufficient to remove prejudice and disinformation and to dismantle the entire structure, in contrast it may lead to the opposite result\u00a0 \u2013 greater group homogeneity or cohesion. <\/p>\n

        Further, artificial intelligence used for the purpose of media content manufacturers in many ways simplifies the realisation of the communication strategy in an echo-chamber. In reality, the membership of an echo-chamber is often filled with AI agents (bot) trained to mimic human group members, thus increasing the apparent number of like-minded persons, which enables the strengthening of mutual trust of the members of the echo-chamber. The task of AI bots is to copy social media posts, provide support through Like\/Dislike\/Subscribe mechanisms and simplify and vulgarise group conversation, with an aim to avoid active debate. In relation to human agents in the same role, artificial bots do not have constraints (customary, legal, ethic, religious). In addition, the number of available AI agents is potentially limitless. However, if there is something good that can arise from this, it is the revision of the episteme<\/em> as static, and a return to the dialectic and truth that is not of a mathematic or scientific, but in the strict sense of the word, philosophic nature.<\/p>\n

        Having all this in mind, as well as the general trends in the development of capitalism, and thus connected \u2013 science and (media) technology, one of the more important tasks of the philosophy of the media would be to monitor the development and mixing (intermediation) of these tendencies; to understand them and set up a problem-solving and critical relationship with them. This, in reality, means that philosophy of the media should become \u2013 as in old times<\/a>[152<\/strong><\/span>]<\/sup><\/a> \u2013 some sort of previous reflection or problem introduction<\/a>[153<\/strong><\/span>]<\/sup><\/a> of the contemporary science, which, obviously, has no interest, potential or knowledge for comprehensive revision and self-reflection. This also means that today’s science, mostly in cahoots with big money, non-critically following post- and transhumanism, as well as similar theoretic methods, in principle gives up self-reflection, carries out, mostly uncritically, tasks for political elites, the military and pharmaceutical industry, i.e. highly-profitable activities. Therefore, it seems that contemporary science in association with technology manifests madness, lack of restraint and insatiability of the appetite of the capital agenda, which it serves unconditionally, with partial or full lack of self-awareness.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/p>\n

        Similarly, although not openly, at is the case with natural sciences, the same is true for most theoretic discourses in the field of social and humanistic sciences, and partly in narrower fields of, let us say communicology and different media theories. This, however, does not mean that the philosophy of the media takes the view of anti-science, advocating the return to mythical opinions, which has, also, become one of the leading trends of our time. To the contrary, by reflecting is subject, the world of the media, its history, status and role, activity and the relationship to itself and to reality and the public, consumers, users, owners, manufacturing structure, technology and finally, artificial intelligence as it is used in the contemporary media, the philosophy of the media speaks about itself, its dilemmas, problems and inadequacies it strives to overcome, worrying as much about its subject as about its own self-awareness, which makes it, we would say, considerably different from contemporary science, thus confirming its philosophical fundament.\u00a0 <\/p>\n

        In addition to its principal problem and critical orientation, the philosophy of the media is also a philosophical subdiscipline that has been opening up towards interdisciplinarity in order to include into its subjects of research reflection from those areas of knowledge that are not, at the first glance, related to it. This does not mean that the philosophy of the media is not critical in advocating media\/or IT literacy or taking over finished, already prepared subjects of research that are then only scientifically ‘processed’ as pure scholastics, as is usually done in scientific institutes or institutions of high education, but it turns to skills and knowledge of robotics, virtual and extended reality, as well as artificial intelligence in order to better get to know the domain of its criticism. Although it is not necessary for the philosophy of the media to integrate knowledge from the realm of contemporary science (AI) and communication technologies, nor desirable for it to promote the values of profit and the ruling capitalistic paradigm, in order to be able to imminently criticise, the philosophy of the media needs to be interested in the media world around itself, that is, the media practice that arises in the real environment. And since the context of its research is also made up of the social-economic reality intermediated by technology, the philosophy of the media, immersing itself analytically in this context, abstracts from it, one, however possibly incoherent, but whole realisation, not only about what it realises but also about itself, thus opening up the path to both its own and comprehensive emancipation. <\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[128<\/strong><\/span>]<\/sup><\/a> 
        \nLet us be reminded, in this context, of theoretical efforts by Frederic Jameson to adapt the traditional Marxist postulates to the spirit of new times, although the author himself failed to show much interest in thematising the problem of the media. In the introductory chapter of the article Marxism as Criticism<\/em>, which tackles Jameson’s contribution to contemporary critical theories of society, his (Jameson’s) special role in the adaptation of traditional Marxist theories to the challenges of new times is underlined,\u00a0 underscoring the possibility of applying criticism (the so-called dialectical criticism is always, as Jameson claims in his paper Marxism and Form<\/em>, holistic and totalistic) to the media-based capitalism in the post-industrial era of social and economic development. See Vuksanovi\u0107, Divna: Medijske egzstencije: Postindividualizam i imaginacija [Media egsistencies: Postindividualism and imagination<\/em>], in: Zbornik radova Fakulteta dramskih umetnosti br. 8, 9 [Collection of works by the Faculty of Dramatic Arts, No. 8 and 9<\/em>], Institut za pozori\u0161te, film, radio i televiziju Fakulteta dramskih umetnosti u Beogradu [Institute for theatre, film, radio and television of the Faculty of Dramatic Arts in Belgrade<\/em>], Beograd, 2005, p. 376. <\/p>\n

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

        \n

        <\/a>[129<\/strong><\/span>]<\/sup><\/a> 
        \nSocial communities that are characterised by the state of post-truth are, in short, described as follows: ‘Society appears to be experiencing a moment when truth, norms, rules and traditions cannot be relied on as the currency on which to base decisions for the future. The consequences of the post-truth society are as palpable as a sense of helplessness, ambivalence and nihilism. Datafication, mass surveillance, technology platform capitalism and the failures of participation appear to be as much to blame as an increasing reliance on emotions to construct meaning.’ From the article: ‘What is the Post-truth Society?’ at:         https:\/\/connectedlearning.edu.mt\/challenges-of-the-post-truth-society\/<\/a> accessed on 11 January 2022.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[130<\/strong><\/span>]<\/sup><\/a> 
        \nSee, for example,\u00a0 the most recent article In a First, Man Receives a Heart From a Genetically Altered Pig<\/em>, in: The New<\/em> York Times<\/em>, 10 January 2022, at:         https:\/\/www.nytimes.com\/2022\/01\/10\/health\/heart-transplant-pig-bennett.html?smtyp=cur&smid=fb-nytimes&fbclid=IwAR0WEJ8pZg6KF3K-1XePJdrg75oSX86FB6XzehMRM4Z7pK2Maee47KYiA9M<\/a>, accessed: 11 January 2022. <\/p>\n

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

        \n

        <\/a>[131<\/strong><\/span>]<\/sup><\/a> 
        \nBarbrook, Richard: ’The New York Prophecies: The Imaginary Future of Artificial Intelligence’, pdf.<\/p>\n

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

        \n

        <\/a>[132<\/strong><\/span>]<\/sup><\/a> 
        \nSeizing the opportunity to stand out offered by the fair, the IBM’s bosses ordered a pavilion that would eclipse all others. Eero Saarinen, a renowned Finnish architect, oversaw the construction of the magnificent building, a white egg-shaped theatre, covered in embossed corporate logo pattern that was suspended high in the air with 45 metal rust-coloured trees. Beneath this memorable attractions there were interactive exhibitions glorifying IBM’s contribution to the computer industry (…) As for the theatre itself, Charles and Ray Eames, the couple that epitomised the American modernistic design, designed the main attraction of the IBM pavilion: the Information Machine. After taking their seats in the People Wall with 500 seats, the audience would be lifted into the egg-shaped building. Once inside, the narrator would announce ’a magnificent multimedia show on the machines being exhibited at the IBM’s pavilion being the predecessors of the conscious machines of the future’. Ibid.<\/p>\n

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

        \n

        <\/a>[133<\/strong><\/span>]<\/sup><\/a> 
        \nIbid.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[134<\/strong><\/span>]<\/sup><\/a> 
        \nIbid.<\/p>\n

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

        \n

        <\/a>[135<\/strong><\/span>]<\/sup><\/a> 
        \nIbid.<\/p>\n

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

        \n

        <\/a>[136<\/strong><\/span>]<\/sup><\/a> 
        \nMusser, George: Consciousness creep<\/em>, AEON, 25 February 2016, at:         https:\/\/aeon.co\/essays\/could-machines-have-become-self-aware-without-our-knowing-it<\/a>, accessed: 13 January 2022.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[137<\/strong><\/span>]<\/sup><\/a> 
        \n’The most systematic effort to piece all the tests together is “ConsScale”, a rating procedure developed in 2008 by the Spanish AI researcher Ra\u00fal Arrabales Moreno and his colleagues. You fill in a checklist, beginning with anatomical features, on the assumption that human-like consciousness arises only in systems with the right components. Does the system have a body? Memory? Attentional control? Then you look for behaviours and communicativeness: Can it recognise itself in a mirror? Can it empathise? Can it lie?’, Ibid.<\/p>\n

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

        \n

        <\/a>[138<\/strong><\/span>]<\/sup><\/a> 
        \nCompare interview by Kavenna, Joanna and Zuboff, Shoshana: Surveillance capitalism is an assault on human autonomy<\/em>, The Guardian, Friday 4 Oct 2019, at:         https:\/\/www.theguardian.com\/books\/2019\/oct\/04\/shoshana-zuboff-surveillance-capitalism-assault-human-automomy-digital-privacy<\/a>, accessed: 14 January 2022.<\/p>\n

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

        \n

        <\/a>[139<\/strong><\/span>]<\/sup><\/a> 
        \nSee Murgia, Madhumita: Emotion recognition: Can AI detect human feelings from a face?<\/em>, Financial Times, 12 May 2021, at:         https:\/\/www.ft.com\/content\/c0b03d1d-f72f-48a8-b342-b4a926109452<\/a>, accessed: 15 January 2022.<\/p>\n

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

        \n

        <\/a>[140<\/strong><\/span>]<\/sup><\/a> 
        \nEye-tracking technology aiding navigation and other applications [Tehnologija pra\u0107enja o\u010diju koja poma\u017ee navigaciji i drugim aplikacijama]<\/em>, at:         https:\/\/hrv.sciences-world.com\/eye-tracking-technology-assist-navigation-42190<\/a>, accessed: 15 January 2022.<\/p>\n

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

        \n

        <\/a>[141<\/strong><\/span>]<\/sup><\/a> 
        \nCf. Marconi, Francesco: Artificial Intelligence and the Future of Journalism<\/em>, Columbia University Press, New York, 2020.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[142<\/strong><\/span>]<\/sup><\/a> 
        \n’Journalism is going through a process of ‘mathematisation’ and will eventually evolve into ’Information Science.’ Marconi, Francesco: How to interview algorithms without code?<\/em>, 22 September 2021, at: https:\/\/fpmarconi.medium.com\/, accessed: 15 January 2022.<\/p>\n

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

        \n

        <\/a>[143<\/strong><\/span>]<\/sup><\/a> 
        \nSee the article by Pamela Spence on life sciences companies participating in the so-called platforms of care. Pamela Spence: When the human body is the biggest data platform, who will capture value?<\/em>, 6 August 2020, at:         https:\/\/www.ey.com\/en_gl\/digital\/when-the-human-body-is-the-biggest-data-platform-who-will-capturevalue<\/a>, accessed: 14 January 2022.<\/p>\n

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

        \n

        <\/a>[144<\/strong><\/span>]<\/sup><\/a> 
        \n‘[In surveillance capitalism], there’s nothing that they’re doing that reflects what populations really want. Yeah, we want the search, but we’re resigned to it because we have no choice. Give me a real choice. Let me revert back to my baseline values, where I don’t have to put all this energy into hiding. That’s what we really want.
        \n I don’t use the word ontology in this book because I don’t want to just turn readers off with something that they can’t understand, but I write about the ontology: it’s supply and demand. And, supply and demand are supposed to be linked. But, right now, we have this kind of shadow falling between them. We’re begrudgingly participating because they’ve got us trapped. This is not how it’s supposed to be. This is not healthy capitalism in my view.’ M\u00f6llers, Norma, Murakami Wood, David and Lyon, David: Surveillance Capitalism: An Interview with Shoshana Zuboff<\/em>, March 2019, pdf.<\/p>\n

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

        \n

        <\/a>[145<\/strong><\/span>]<\/sup><\/a> 
        \nIn addition to the term ‘intelligent agents’, the following terminology variants are used \u2013 ‘rational agents’, ‘software agents’, ‘conductors’ , ‘knowledge robots’ ‘software robots’, etc. For more detail see the short article ’\u0160ta je agent, a \u0161ta inteligentni agent?’ [What is an agent and what is an intelligent agent?] at:         https:\/\/razno.sveznadar.info\/4_AI\/Agenti\/01-agenti.htm<\/a>, accessed: 10 January 2022.<\/p>\n

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

        \n

        <\/a>[146<\/strong><\/span>]<\/sup><\/a> 
        \nSee: Ethical AI Matches Human Judgements in 90 per cent of Moral Dilemmas<\/em>, <\/strong>at:         https:\/\/www.discovermagazine.com\/technology\/ethical-ai-matches-human-judgements-in-90-per-cent-of-moral-dilemmas<\/a>, accessed: 10. 01. 2022.<\/p>\n

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

        \n

        <\/a>[147<\/strong><\/span>]<\/sup><\/a> 
        \nThe notion of digital dementia (Digitale Demenz<\/em>) was introduced by Manfred Spitzer in 2012. In addition to the book by the same name, notable articles in different journals, Spitzer held public lectures on this topic on different occasions. See, for example, the lecture: ‘Digitale Demenz’ im Zeitalter neuer Medien<\/em> (’Digital dementia’ in the age of new media), Louisenlund, 29 November 2014, at:         https:\/\/www.youtube.com\/watch?v=E5EKy0x55L4<\/a>, accessed: 10 January 2022.<\/p>\n

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

        \n

        <\/a>[148<\/strong><\/span>]<\/sup><\/a> 
        \nFromm, Erich: Zdravo dru\u0161tvo [The Sane Society]<\/em>, Naprijed, Nolit, Zagreb, Beograd, 1986.<\/p>\n

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

        \n

        <\/a>[149<\/strong><\/span>]<\/sup><\/a> 
        \nChawla, Vishal: How The Mainstream Media Covers Artificial Intelligence (AI)<\/em>, 3 April 2020, at:         https:\/\/analyticsindiamag.com\/how-the-mainstream-media-covers-artificial-intelligence\/<\/a>, accessed: 16 January 2022.\u00a0
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[150<\/strong><\/span>]<\/sup><\/a> 
        \nCf. Ibid.<\/p>\n

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

        \n

        <\/a>[151<\/strong><\/span>]<\/sup><\/a> 
        \nNguyen, Christopher Ba Thi: Echo Chambers and Epistemic Bubbles<\/em>, Episteme<\/em>, Cambridge University Press, vol. 17, no. 2, June 2020, pp. 141-161.<\/p>\n

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

        \n

        <\/a>[152<\/strong><\/span>]<\/sup><\/a> 
        \n’In order to research a science or scientific knowledge, every scientist previously needs to know what human knowledge is, what is its nature, what is its social function and its relationship with the social and manufacturing practice. The answers to these questions is provided by philosophy and different directions of philosophy give different answers to these questions. Therefore, each philosopher of science is forced to rely on certain philosophic views. Bearing in mind the development of contemporary science it is clear that each researcher may take as the subject of its research only one of its moments and therefore his or her deliberation is always partial; since philosophers of science belong to different philosophic orientation it is clear that they also have different views of science and this leads to insight into the existence of different methodological concepts.’ Uzelac, Milan: Istorija filozofije II: Istorija filozofije od Dekarta do Eugena Finka [The history of philosophy II: The history of philosophy from Descartes to Eugen Fink]<\/em>, Vr\u0161ac, 2003, p. 460.<\/p>\n

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

        \n

        <\/a>[153<\/strong><\/span>]<\/sup><\/a> 
        \nCf. Reichenbach, Hans: Ra\u0111anje nau\u010dne filozofije [The Rise of Scientific Phylosophy]<\/em>, Nolit, Beograd, 1964.<\/p>\n

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

         <\/p>\n

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

        What is the Post-truth Society?<\/em> at: https:\/\/connectedlearning.edu.mt\/challenges-of-the-post-truth-society\/<\/a><\/p>\n

        ‘Digitale Demenz’ im Zeitalter neuer Medien<\/em>, Louisenlund, 29 November 2014, at: https:\/\/www.youtube.com\/watch?v=E5EKy0x55L4<\/a>. <\/p>\n

        Ethical AI Matches Human Judgements in 90 per cent of Moral Dilemmas<\/em>, <\/strong>at: https:\/\/www.discovermagazine.com\/technology\/ethical-ai-matches-human-judgements-in-90-per-cent-of-moral-dilemmas<\/a>.<\/p>\n

        In a First, Man Receives a Heart From a Genetically Altered Pig<\/em>, in: The New York Times, 10 January 2022, at: https:\/\/www.nytimes.com\/2022\/01\/10\/health\/heart-transplant-pig-bennett.html?smtyp=cur&smid=fb-nytimes&fbclid=IwAR0WEJ8pZg6KF3K-1XePJdrg75oSX86FB6XzehMRM4Z7pK2Maee47KYiA9M<\/a>. <\/p>\n

        Interview by Kavenna, Joanna and Zuboff, Shoshana: Surveillance capitalism is an assault on human autonomy<\/em>, The Guardian, Friday, 4 October 2019, at: https:\/\/www.theguardian.com\/books\/2019\/oct\/04\/shoshana-zuboff-surveillance-capitalism-assault-human-automomy-digital-privacy<\/a>. <\/p>\n

        \u0160ta je agent, a \u0161ta inteligentni agent? [What is an agent and what an intelligent agent?]at: <\/em>https:\/\/razno.sveznadar.info\/4_AI\/Agenti\/01-agenti.htm<\/a>.<\/p>\n

        Tehnologija pra\u0107enja o\u010diju koja poma\u017ee navigaciji i drugim aplikacijama<\/em> [Eye-tracking technology that assists navigation and other apps]<\/em>, at: https:\/\/hrv.sciences-world.com\/eye-tracking-technology-assist-navigation-42190<\/a>. <\/p>\n

        Barbrook, Richard: New York Prophecies: The Imaginary Future of Artificial Intelligence<\/em>, pdf.<\/p>\n

        Chawla, Vishal: How The Mainstream Media Covers Artificial Intelligence (AI)<\/em>, 3 April 2020, at: https:\/\/analyticsindiamag.com\/how-the-mainstream-media-covers-artificial-intelligence\/<\/a><\/p>\n

        Fromm, Erich: Zdravo dru\u0161tvo [The Sane Society<\/em>], Naprijed, Nolit, Zagreb, Beograd, 1986. <\/p>\n

        Marconi, Francesco: Artificial Intelligence and the Future of Journalism<\/em>, Columbia University Press, New York, 2020. <\/p>\n

        Marconi, Francesco: How to interview algorithms without code?,<\/em> 22 September 2021, at:\u00a0 \u00a0https:\/\/fpmarconi.medium.com\/. <\/a><\/p>\n

        M\u00f6llers, Norma, Murakami Wood, David and Lyon, David: Surveillance Capitalism: An Interview with Shoshana Zuboff<\/em>, March 2019, pdf.<\/p>\n

        Murgia, Madhumita: Emotion recognition: Can AI detect human feelings from a face?<\/em>, Financial Times, 12 May 2021, at: https:\/\/www.ft.com\/content\/c0b03d1d-f72f-48a8-b342-b4a926109452<\/a>. <\/p>\n

        Musser, George: Consciousness creep<\/em>, AEON, 25 February 2016, at: https:\/\/aeon.co\/essays\/could-machines-have-become-self-aware-without-our-knowing-it<\/a>. <\/p>\n

        Nguyen, Christopher Ba Thi: Echo Chambers and Epistemic Bubbles<\/em>, Episteme<\/em>, Cambridge University Press, vol. 17, no. 2, June 2020. <\/p>\n

        Reichenbach, Hans: Ra\u0111anje nau\u010dne filozofije<\/em> [The Rise of Scientific Philosophy]<\/em>, Nolit, Beograd, 1964.<\/p>\n

        Spence, Pamela: When the human body is the biggest data platform, who will capture value<\/em>?, 6 August 2020, at: https:\/\/www.ey.com\/en_gl\/digital\/when-the-human-body-is-the-biggest-data-platform-who-will-capture value<\/a>.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/p>\n

        Uzelac, Milan: Istorija filozofije II: Istorija filozofije od Dekarta do Eugena Finka [The history of philosophy II: The history of philosophy from Descartes to Eugen Fink]<\/em>, Vr\u0161ac, 2003.<\/p>\n

        Vuksanovi\u0107, Divna: Medijske egzstencije: Postindividualizam i imaginacija [Media egsistencies: Postindividualism and imagination]<\/em>, in: Zbornik radova Fakulteta dramskih umetnosti br. 8, 9 [Collection of works by the Faculty of Dramatic Arts, No. 8 and 9<\/em>], Institut za pozori\u0161te, film, radio i televiziju Fakulteta dramskih umetnosti u Beogradu [Institute for theatre, film, radio and television of the Faculty of Dramatic Arts in Belgrade<\/em>], Beograd, 2005.<\/p>\n

         <\/p>\n

        Filozofija u vremenu medija i tehnolo\u0161ko-informati\u010dkog ludila<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Saop\u0161tenje iz ugla filozofije medija problematizuje mogu\u0107nost i praksu mi\u0161ljenja (samosvest) u vremenu dominacije medija i vladavine tehni\u010dko-informati\u010dkog \u201cludila\u201d. Tako\u0111e, u pozadinskom planu izlaganja, saop\u0161tenje se doti\u010de kritike tzv. medijski zasnovanog kapitalizma; suo\u010deljavaju se koncept \u201cludila\u201d koji susre\u0107emo pod maskom aktivnosti racionalnog (instrumentalnog) uma i savremenih medija na jednoj strani, i poimanje misle\u0107eg subjekta, njegove teorijsko-prakti\u010dke mogu\u0107nosti, na drugoj strani. Sve ovo demonstrira se na primeru (zlo)upotrebe ve\u0161ta\u010dke inteligencje u savremenim medijima, koja na dru\u0161tvenim mre\u017eama naj\u010de\u0161\u0107e deluje posredstvom dva fenomena: \u201cepistemi\u010dkog mehura\u201d i \u201ceho komore\u201d. Na osnovu izvedenih analiza, pokazuje se da filozofija medija, zasnovana kao interdisciplinarno orjentisana teorijska kritika medija i medijatizovane stvarnosti, ima priliku i obavezu da se problemski odredi prema tehni\u010dkim izumima kao \u0161to je ve\u0161ta\u010dka inteligencija upotrebljena u medijma, \u010dime doprinosi samovesti i praksi, kako vlastite discipline, tako i dru\u0161tvene zajednice u kojoj kriti\u010dki participira.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> filozofija medija, ve\u0161ta\u010dka inteligencija, dru\u0161tveni mediji, ludilo, kapitalizam.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#4 2022<\/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

        DOI 10.46640\/imr.11.20.4<\/a>
        \n UDK 366:17
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 20.2.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Vjekoslav \u0110ai\u0107<\/span><\/p>\n

        Sveu\u010dili\u0161te Sjever Vara\u017edin, Hrvatska
        \n vjekoslav.djaic@gmail.com\n<\/p>\n

        Luksuz \u2013 metastaza koncepta konzumerizma<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (279 KB), Hrvatski, Str. 3301 – 3309
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Osim \u0161to u osnovnim crtama dekonstruira koncept luksuza, ovaj se rad dominantno bavi tim konceptom u kontekstu konzumerizma. Daju\u0107i argumente za i protiv u radu se razla\u017eu i neke eti\u010dke norme koje u potrazi za sre\u0107om potvr\u0111uju luksuz kao filozofiju \u010dija je primarna zada\u0107a socijalna distanca. Zato o luksuzu ne treba govoriti iz \u010diste ekonomsko \u2013 potro\u0161a\u010dke perspektive. On je prvenstveno i sociolo\u0161ko pitanje kroz koje \u010ditamo aspekte identiteta, kulta ljepote i dru\u0161tvenog statusa. Uspore\u0111uju\u0107i konzumerizam i potragu za sre\u0107om, u radu se iznose i primjeri eti\u010dki diskutabilnih poslovnih poteza kojima je cilj sa\u010duvati reputaciju marke i braniti je pred uskim krugom potro\u0161a\u010da, dok istovremeno time poja\u010davaju \u017eudnju, sanjarenje i \u017eelju me\u0111u onima koji to nisu. Autor se u radu bavi i temom odr\u017eivosti te sliku koju luksuzne marke \u017eele stvoriti o sebi kao o lideru u tom podru\u010dju potkrepljuje primjerima. Istovremeno se raspravlja i o tome koliko je nova ekolo\u0161ka perspektiva vi\u0161e kontekst odnosa s javno\u0161\u0107u nego ono \u0161to bi joj trebala biti primarna svrha.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> luksuz, konzumerizam, sre\u0107a, etika, potro\u0161a\u010d.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        SFRAGIDA UMJESTO UVODA<\/strong><\/p>\n

        Sfragida bi po svom habitusu vi\u0161e odgovarala zaklju\u010dku ovog rada, ipak, fundamentalna je za eksplanaciju teme luksuzne industrije i osobni doticaj s istom. Ta sfragida po\u010dinje u Parizu tijekom studija na presti\u017enoj privatnoj \u0161koli za menad\u017ement INSEEC, Grande \u00e9cole de commerce. U ponudi izbornih kolegija posebno se isticao kolegij Brandiranje luksuza. \u010cinio se plauzibilnim, a na kraju se pokazao najmanje imprudentnim izborom jer mi je otvorio vrata u marketin\u0161ku disciplinu za proizvode koje mnogi konzumenti deificiraju. Didaskali\u010dan pristup devalorizirao je taj nedosti\u017eni svijet \u010dije \u0107u parametre poku\u0161ati dekonstruirati u ovom radu. <\/p>\n

        Ve\u0107 o samom konzumerizmu kao konceptu u kojem sre\u0107a i blagostanje individue ovisi o potro\u0161nji a koji je postao na\u010delo moderne ekonomije, epitetski je nemogu\u0107e govoriti. Luksuzna je industrija tek jedan krak tog konzumerizma i to onaj koji sre\u0107u i blagostanje promatra kroz posjedovanje ba\u0161 to\u010dno odre\u0111enih proizvoda, ali ih prodaje suprotno uvrije\u017eenim ekonomskim i marketin\u0161kim zakonima. <\/p>\n

        Ono \u0161to posvema\u0161nje karakterizira ekonomiju na\u0161eg antropozoika jest te\u017enja gotovo svih aspekata da budu luksuzni<\/em>. Danas gotovo da je nemogu\u0107e izbje\u0107i taj pridjev bilo da se radi o tek obi\u010dnoj \u010dokoladi, putovanju ili odje\u0107i. <\/p>\n

        Ta ekonomija o sebi ima egolatrijsku percepciju, a istovremeno je vrlo lukrativna. U vremenima najve\u0107ih kriza ona je jedina industrija koja raste i rijetko \u0107e za sebe re\u0107i da je industrija. <\/p>\n

        Luksuz, osim \u0161to u konzumeristi\u010dkom konceptu zauzima posebno mjesto, \u010desto pribjegava posve neeti\u010dnim postupcima, gotovo ironi\u010dnim, istovremeno i te\u0161ko razumljivim obi\u010dnom homo sapiensu<\/em>. Njezina bitna odrednica jest socijalna distanca, \u0161to pak podupire postmodernisti\u010dku tezu o individualizmu, naspram kolektivizma. <\/p>\n

        Afektacijski elementi luksuzne industrije, njezini deontolo\u0161ki defekti te halmatogeneza pro\u017eeta postmodernizmom, poku\u0161at \u0107e dodatno razjasniti tezu iz naslova o luksuznoj industriji kao metastazi konzumeristi\u010dkog koncepta. <\/p>\n

         <\/p>\n

        KONZUMERIZAM: PUT KA SRE\u0106I?!<\/em><\/strong><\/p>\n

        Poznati autor Goran Bare, i sam zapao u ku\u0161njama postmoderne, u stihovima skladbe Put ka sre\u0107i vjerojatno najbolje postavlja pitanja o postmodernosti i njezinim izazovima za ljudsko bi\u0107e. Premda bi se moglo re\u0107i kako su to generalna pitanja u okviru generalne \u0161irokorasponske definicije pojma postmodernosti i postmodernizma, autor se osvr\u0107e na pitanje istine i la\u017ei koje diferencira izvrnutim vrijednostima kao nevidljivim zidom s \u010dije jedne strane postoji strah a s druge neostvareni snovi. Kontekstulizira li se ovo u smislu postmodernizma kao temporalne, i konzumerizma kao sadr\u017eajne definicije postmodernosti, odgovore na Baretove filozofske dvojbe mo\u017eemo potra\u017eiti u trgova\u010dkom centru. <\/p>\n

        Ti \u010detvorni metri prepuni potro\u0161a\u010dke sedukcije \u010desto su puta neostvareni snovi za mnoge konzumente koji ondje tra\u017ee oblik socijalnog prihva\u0107anja. Iako izvorno sti\u017eu iz Sjedinjenih Ameri\u010dkih Dr\u017eava, svaki se modificirao zahtjevima lokalnog tr\u017ei\u0161ta no, u osnovi, prema Stani\u0107u (2013:135) prisutne su dvije osnovne funkcije. „U prvom redu to su komercijalni prostori sa zada\u0107om generiranja profita i drugo, svoju primarnu svrhu ostvaruju potenciranjem socijalnih i kulturnih kapaciteta potro\u0161nje“ (Stani\u0107, 2013:135). Potro\u0161nja je ve\u0107a \u0161to je bolja i ugodnija atmosfera, koja, prema Stani\u0107u (2013:136), cilja na osjetila potro\u0161a\u010da kori\u0161tenjem boja, zvukova i mirisa. Svi ti olfaktivni elementi transformirali su trgova\u010dke centre i u socijalne interakcije. Oni vi\u0161e nisu samo mjesta seduktivno \u2013 konzumeristi\u010dke nakane konzumenta, ve\u0107 i mjesta na kojima se rado dru\u017eimo s prijateljima, ostavljamo djecu u igraonicama ili pak odlazimo u kina. Prema Stani\u0107u (2013:147), potro\u0161a\u010dki centri istovremeno su sjeci\u0161ta u kojima se sastaju dvije bitne odrednice kapitalizma, a \u010dine ih potro\u0161nja i rad. Potro\u0161nja i rad, \u0161to je odnosno jaz izme\u0111u potro\u0161a\u010da i radnika koji su i sami potro\u0161a\u010di i generatori kapitala. Jedna medalja s dva lica. Terry Eagleton (2017:41) govori o tom postmodernisti\u010dkom jazu s aspekta kulture. „Sa stajali\u0161ta kulture, svi trebamo dobiti jednako po\u0161tovanje, dok se u ekonomskome smislu jaz izme\u0111u posjetitelja pu\u010dkih kuhinja i klijenata trgova\u010dkih banaka sve vi\u0161e pove\u0107ava. Kult inkluzivnosti poma\u017ee nam da prikrijemo te materijalne razlike. Pravo na odijevanje, \u0161tovanje ili ljubav prema \u017eeljama pojedinca silno se po\u0161tuje, dok se pravo na pristojnu pla\u0107u uskra\u0107uje“ (Eagleton, 2017:41).<\/p>\n

        Sam pojam konzumerizma autori diferentno sa\u017eimlju. Od konzumerizma kao koncepta pa do ideolo\u0161kog definiranja pojma, ovisno iz koje ga se domene promatra. Prema Hromad\u017ei\u0107u (2013:76) „u ekonomskim terminima definirano, konzumerizam je dru\u0161tveno-kulturna refleksija ideologije poslovnog svijeta bazirana na na\u010delima tr\u017ei\u0161ne kompetitivnosti i na ideji stalnog rasta.“ Ideologija je poput skupa ideja i formi kroz koje do\u017eivljavamo sliku svijeta. Ona jednako tako gradi na\u0161u sliku svijeta, identitet koji nas odre\u0111uje, motivaciju za djelovanje. Konzumerizam u tom smislu mo\u017eemo definirati kao subordiniranu vrstu ideologije koju \u017eivimo svakodnevno, ba\u0161 kao i politi\u010dku ideologiju koja u bitnome odre\u0111uje na\u0161u sliku svijeta i sustav vrijednosti. Kompariraju li se ideologije, one politi\u010dke i konzumeristi\u010dka, zajedni\u010dka im je potro\u0161a\u010dka kultura i konzumerizam kao ideologija, jer i ideolo\u0161ki ljevi\u010dar i ideolo\u0161ki desni\u010dar u kona\u010dnici su konzumenti. Sve se mo\u017ee kupiti, pa \u010dak i ideologija ljevice ili desnice, i sve to jest roba. „Temeljno sociolo\u0161ko pitanje nije samo ‘koje to potrebe ili svrhe roba zadovoljava’, ve\u0107 ‘koje je zna\u010denje te robe za njezine konzumente?’“ (Lojki\u0107, 2013:52). No, osim te politi\u010dke, ovdje se pod ideologijom promatra ona potro\u0161a\u010dka i to kroz aspekt konstruirane stvarnosti.<\/p>\n

         <\/strong><\/p>\n

        ZARA EFEKT <\/strong><\/p>\n

        Uz socijalnu dimenziju trgova\u010dkih centara, njezina primarna i dominantna funkcija jest kupiti i potro\u0161iti novac. Za proizvo\u0111a\u010de i vlasnike trgovina nije bitno na \u0161to. Premda ponuda obiluje i gotovo se svakodnevno \u0161iri novim robnim markama prosje\u010dni potro\u0161a\u010d te\u0161ko se mo\u017ee otkloniti tomu da svi izgledaju jednako. Svi trgova\u010dki centri imaju iste robne marke. Ponuda u njima se ne razlikuje. Ta brza<\/em> moda koja u rekordnim rokovima odgovara na najnovije modne trendove potro\u0161a\u010dima prosje\u010dnog d\u017eepa nudi privid u pra\u0107enje nametnutih trendova. I to je za dionike potro\u0161a\u010dkog dru\u0161tva jedan od puteva ka sre\u0107i. „Jo\u0161 jedno razo\u010daranje o\u010dekuje modernog \u010dovjeka: vjeruje da je jedinstven, a otkriva da je bilo tko.“ (Bruckner, 1997:34)), ili da je klon odjeven u traperice iz Zare ili H&M-a, ba\u0161 poput milijuna vr\u0161njaka diljem svijeta. „Rasplet te pustolovine le\u017ei u tome \u0161to od sad ljudi jedni drugima nalikuju u na\u010dinu na koji se \u017eele isticati. Ta \u017eelja za distanciranjem je upravo to \u0161to ih zbli\u017eava, njihova se sli\u010dnost potvr\u0111uje upravo u tom razlikovanju“ (Bruckner, 1997:34). Konzumeristi\u010dka era u\u010dinila nas je upravo takvima. U \u017eelji za razlikovanjem, izgledamo isto. U \u017eelji za razlikovanjem, jedemo isto. I nije to ni\u0161ta nego preslikavanje obrazaca drugih kultura, jezgri i individua. Gradimo svoju jedinstvenu kulturu i individuu, ali koja je pak preslika globalnog svijeta. U svemu tome, kult ljepote i mladosti do smrti<\/em> gotovo opsesivno navodi na konzumaciju i potro\u0161nju onoga bez \u010dega se mo\u017ee. „Biti lijep zna\u010di biti prihva\u0107en i uspje\u0161an pa se investiranje u uljep\u0161avanje i vlastito izgra\u0111ivanje posebno nagra\u0111uje dru\u0161tvenim statusom, ali i pla\u0107a odgovaraju\u0107om tr\u017ei\u0161nom cijenom“ (Lojki\u0107, 2013:61-62). I u svemu tome modernog je potro\u0161a\u010da va\u017eno zadovoljiti markom, vi\u0161e nego proizvodom. Marka mu jam\u010di apstraktnu vezu, simbol i emocionalnu povezanost proiza\u0161lu iz kuhinje marketinga. „Mo\u017ee se re\u0107i da su danas marke zaposjele modernu trgovinu, a simboli kao njihova osnovna bit postali su uspje\u0161ni manipulatori“ (Lojki\u0107, 2013:63). Ipak, neke marke nisu svima dostupne ali su predmet \u017eudnje, i to je ono \u0161to \u010dini klju\u010dnu razliku koja se odr\u017eava kroz kupovnu mo\u0107 dionika potro\u0161a\u010dkog dru\u0161tva. I me\u0111u istima postoje razli\u010diti. <\/p>\n

         <\/strong><\/p>\n

        LUKSUZNA INDUSTRIJA: NEOSTVARENI SNOVI<\/em><\/strong><\/p>\n

        Isti u smislu konzumenata, razli\u010diti u onome \u0161to kupuju. Tek jedan pogled u rje\u010dnik sjajno definira \u0161to to luksuz jest. „Sve \u0161to ne slu\u017ei \u017eivotnim potrebama, \u0161to nije neophodno potrebno za \u017eivot“ (Klai\u0107, 1986:882). Tome korelira i Sombartova (2011:76) deskripcija ovog pojma. „Luksuz je svaki izdatak koji nadilazi ono \u0161to je neophodno. Taj pojam je o\u010dito relativan: dobiva opipljiv sadr\u017eaj tek kada se zna \u0161to je neophodno“ (Sombart, 2011:76). Suvremeni marketin\u0161ki stru\u010dnjaci i teoreti\u010dari robnih marki \u2013 nisu ba\u0161 u potpunosti slo\u017eni s definicijom luksuzne marke i luksuzne robe. Sla\u017eu se tek da luksuz postoji koliko i \u010dovjek, jer uvijek je jednima bilo nedostupno, ono \u0161to je drugima bilo dostupno. „DNA luksuza je simboli\u010dna \u017eelja za pripadanjem vrhunskoj klasi, koja je za mnoge san, a luksuzom mo\u017ee postati sve \u0161to ima ulogu socijalne distinkcije. Istovremeno, sve \u0161to tu ulogu izgubi, nema ni luksuzni status“ (Kapferer, Bastien, 2009:19).\u00a0 <\/p>\n

        Sombartovo (2011:77) tuma\u010denje bli\u017ee je potrebi i nu\u017enosti pa eksplicira luksuz na kvalitativni i kvantitativni traktat. „Luksuz u kvantitativnom smislu ima isto zna\u010denje kao i rasipanje <\/em>dobara: ako \u010dovjek dr\u017ei stotinu sluga gdje je dovoljan jedan, ili kad zapali tri \u0161ibice odjednom kako bi zapalio cigaru. Luksuz u kvalitativnom smislu zna\u010di kori\u0161tenje boljih dobara“ (Sombart, 2011:77). <\/p>\n

        Sve ono \u0161to \u0107e nas u\u010diniti da se razlikujemo od drugih ima tendenciju biti luksuzom. U konzumeristi\u010dkoj dimenziji i luksuzne i ostale marke su tu da se prodaju i donesu profit, i tu je konzumeristi\u010dko \u2013 potro\u0161a\u010dka ideja jednaka. Razlika je u tome \u0161to luksuznu marku mo\u017ee kupiti manji broj ljudi pa je zato u tom kru\u017eoku onih koji izgledaju isto \u2013 manje. No, teoreti\u010dari luksuza ne\u0107e se slo\u017eiti s gore navedenom tezom. Oni tvrde da je razlika izme\u0111u potro\u0161a\u010dkog dru\u0161tva i luksuza golema, te da je luksuzna industrija koncept a ne objekt kako je to slu\u010daj u potro\u0161a\u010dkoj ideologiji. Toj bi se definiciji pojma koju bi Veblen (2008) nazvao razmetljiva potro\u0161nja<\/em>, mogle priklju\u010diti i ostale. Okonkwo (2009:302) napominje da „luksuz nije proizvod ni predmet, usluga, niti je koncept ili stil \u017eivota. To je identitet, filozofija i kultura.“ Bourdieu (2011:346) tvrdi da „Ludilo jednih prijeka je potreba drugih.“ Kapferer i Bastien (2009:30) isti\u010du sljede\u0107e: „Novac je jezik dru\u0161tva, a luksuz njegova gramatika.“<\/p>\n

        Ipak, ta lingvistika<\/em> i u danima najve\u0107e ekonomske krize ne do\u017eivljava stagnaciju nego rast, a na godi\u0161njoj razini bilje\u017ei ogromne dobiti. „Prema istra\u017eivanju The Boston Consulting Group-Fondazione Altagamma (2017.), godine 2016. globalno luksuzno tr\u017ei\u0161te vrijedilo je 860 milijardi eura“ (Amatulli et all., 2018:72).\u00a0 Kapferer i Bastien (2009:177) diferenciraju skupo\u0107u i luksuz: „Luksuzni brend mora uzrokovati kontinuirani rast prosje\u010dne cijene: njezina dinamika nije pove\u0107anje broja klijenata kroz spu\u0161tanje cijene i zanemarivanje brenda, ve\u0107 pove\u0107anje broja klijenata koji su spremni platiti za pristup brendu“ (Kapferer, Bastien, 2009:180). Luksuzne marke pove\u0107avaju cijene kako bi pove\u0107ale socijalnu distancu, svoj svijet zatvorile za vrlo uzak krug ljudi, a svoju marku istovremeno stvorile predmetom \u017eelje. „Bogati su ljudi brzo stigli do to\u010dke u kojoj ni\u0161ta vi\u0161e ne osje\u0107aju“ (Sombart, 2011:80). Rousseau (2017:127) se zala\u017ee za poseban porez koji bi bogati pla\u0107ali za svoju dokolicu. „Trebalo bi postaviti visoke poreze na livreje, pratnju, ogledala, lustere, skupocjeni namje\u0161taj, tkanine i pozlate, na dvori\u0161ta i vrtove velikih zdanja, na spektakle svih vrsta, na jalova zanimanja poput lakrdija\u0161a, pjeva\u010da i glumaca, rje\u010dju na sve to mno\u0161tvo luksuznih predmeta zabave i dokolice koji su upadljivi za sve o\u010di i koji se tim manje mogu sakriti \u0161to je njihova jedina svrha da se pokazuju, jer bi bili potpuno beskorisni da nisu vi\u0111eni.“ (Rousseau, 2017:126-127). Premda Sombart (2011:138) dr\u017ei luksuz klju\u010dnim za razvoj kapitalizma te tr\u017ei\u0161ta uop\u0107e, sam marketing luksuznih marki, prema Kapfereru i Bastienu (2009.) dijametralno je suprotan postavkama klasi\u010dnog tr\u017ei\u0161ta. „Luksuzni brand je ne\u0161to \u0161to se mora zaraditi. \u0160to je ve\u0107a nedostupnost, stvarna ili virtualna, ve\u0107a je \u017eelja. Kao \u0161to svi znaju, luksuz se gradi i vremenskim faktorom: to je vrijeme tra\u017eenja, \u010dekanja, \u010de\u017enje\u2026 toliko daleko od tradicionalnog marketinga koji radi na tome kako bi olak\u0161ao brz pristup proizvodu, masovnu distribuciju, samoposlu\u017ene sustave, internet, pozivne centre i ponude.“ (Kapferer, Bastien, 2009:67). Nije ultimativno imati novac za konzumaciju luksuza. On je vi\u0161e od same kupnje. Primjerice, ako je konzument iz zemlje u kojoj luksuzna marka nije dostupna i sam proces planiranja kupnje ve\u0107 kreira odre\u0111ene \u017eudnje i luksuz \u010dini predmetom \u017eelje. Onaj tko si mo\u017ee priu\u0161titi luksuz, mo\u017ee si priu\u0161titi i oti\u0107i sam po njega na drugi kraj svijeta. Raritet luksuzne marke daje predmetu pravo ustrojavanja sebi svojstvene regulative za komunikacije. Kako novac nije bitan i tek je mjerilo konzumeristi\u010dke mo\u0107i, luksuz se ne ogla\u0161ava, on komunicira (Kapferer, Bastien, 2009:212). Ipak, itekako koristi sve alate odnosa s javno\u0161\u0107u uklju\u010duju\u0107i sponzorstva raznih doga\u0111aja, paze\u0107i pri tome da ne odstupa od genetskog koda same marke. „Morate sponzorirati doga\u0111aj, budu\u0107i da tada mo\u017eete kontrolirati sve njegove parametre, ali ne i natjecatelje (Louis Vuitton sponzorira LV kup, a ne brod; Herm\u00e8s sponzorira Grand Prix de Diane, a ne konja); morate odabrati doga\u0111aj koji je koherentan s jezgrom marke, njezinim korijenima (Herm\u00e8s i konji; Louis Vuitton i putovanja, dakle \u010damci), i da se usredoto\u010dite na najpresti\u017enija doga\u0111anja“ (Kapferer, Bastien, 2009:214). Luksuzna marka mora biti prisutna u zajednici, o njoj se treba govoriti, ona mora komunicirati kako bi bila predmet \u017eelje onima kojima nikada ne\u0107e biti dostupna. Sve luksuzne marke koje imaju proizvode poput parfema ili relativno dostupnih kozmeti\u010dkih proizvoda na piramidi luksuza gube i slabe svoj luksuzni status. Ljudi koji si mogu kupiti luksuz ne \u017eele ga dijeliti s drugima. Ne \u017eele imati ono \u0161to mo\u017ee kupiti svaka srednjo\u0161kolka u drogeriji. U piramidi luksuza samo najnedosti\u017enije stvari su na samom vrhu. <\/p>\n

         <\/strong><\/p>\n

        SRCA TVRDA K’O KAMENJE<\/strong><\/p>\n

        Ovaj ekonomski potentni sektor stoga dobro pazi tko je vlasnik njegovih stvari, i premda bi trebao biti eti\u010dan i poslovati u skladu s dru\u0161tveno odgovornim normama suvremenog potro\u0161a\u010dko – gospodarskog okru\u017eenja to i nije uvijek tako. <\/p>\n

        Zadnji doga\u0111aj iz ljeta 2018. godine govori o nemoralu britanskog modnog diva Burberry (Novi list, 2018). Nakon \u0161to nisu prodali odje\u0107u, kapute, torbe i ostalo, sav vi\u0161ak je spaljen. Procjene govore da se radilo o odje\u0107i vrijednoj gotovo 30 milijuna funti. „Ukupna vrijednost uni\u0161tenih proizvoda Burberrya u proteklih pet godina tako se popela na vi\u0161e od 90 milijuna funti“ (Novi list, 2018). Opravdanje su na\u0161li u za\u0161titi od krivotvorenja svog brenda i za\u0161titi autorskih prava. Sasvim je izgledno da u Burberryju nisu vodili ra\u010duna o tome kakvu \u0107e sliku o sebi stvoriti u svjetskoj javnosti jer javnost zapravo nije njihov potro\u0161a\u010d. Ta, nazovimo je \u0161iroka masa, slu\u017ei im tek kako bi dodatno oja\u010dali svoje ime u svijetu onih koji mogu kupiti njihove proizvode. Ovakva pojava nije ni\u0161ta novo ve\u0107 potpuno uobi\u010dajena poslovna praksa. Kad bi se netko tko ga treba domogao kaputa ove marke, to bi zna\u010dilo da bi sama marka uprljala svoj ugled. Eti\u010dki nedopustivo. <\/p>\n

        Nedopustiva je i tu\u017eba protiv danske umjetnice koju je pokrenula pari\u0161ka ku\u0107a Louis Vuitton. Bijele majice s otisnutom karikaturom koja podsje\u0107a na Paris Hilton s torbom poznate ku\u0107e na\u0161la se u internetskoj prodaji, a novac je i\u0161ao za pomo\u0107 djeci u Africi. Vidjev\u0161i da im je autorica uzela <\/em>poznatu torbu s logom, tu\u017eili su ju zbog za\u0161tite autorskih prava, te cilj i svrha, iako humanitarnog karaktera, nisu bili dovoljan razlog da se odustane od tu\u017ebe. Louis Vuitton je tada imao vlastitu kampanju za pomo\u0107 djeci Afrike, ipak reputacija im nije poljuljana, a taj brend je ostao i dalje san mnogih potro\u0161a\u010da. <\/p>\n

        Me\u0111u malobrojne svijetle primjere dru\u0161tveno odgovornog poslovanja mogao bi se svrstati primjer \u010dovjeka koji ima ambiciju postati najbogatiji Francuz na svijetu, Bernarda Arnaulta. Arnault je vlasnik najve\u0107e i najprofitabilnije grupacije luksuznih marki na svijetu, LVMH grupe. Tijekom konferencije o klimatskim promjenama u Parizu 2016. godine, Arnaultova LVMH grupa predstavila je svjetskim liderima svoj korporativni porez<\/em>, a \u0161to je dio novca koji svaka marka unutar grupe odvaja za projekte odr\u017eivog razvoja. Poruka je bila: ako ne znate kako, slijedite nas jer mi znamo. Grupa o doprinosu odr\u017eivom razvoju izvje\u0161tava u svojim anualnim izvje\u0161\u0107ima (LVMH statistics, 2017). <\/p>\n

        Ipak, dru\u0161tveno odgovorno poslovanje i odr\u017eivi razvoj ne bi trebali biti dio ureda za odnose s javno\u0161\u0107u, jer time se ponovno ja\u010da imid\u017e marke, raste joj ugled u zajednici \u0161to je o\u010dito i primarna svrha, a ne pomo\u0107 okru\u017eenju i naturalnom oporavku iz koje se crpe resursi pa i za luksuznu industriju. <\/p>\n

        Idu li na kraju luksuzna industrija i odr\u017eivi razvoj zajedno? Mo\u017ee li ne\u0161to biti zlatno<\/em> i zeleno<\/em>? (Kapferer, Bastien, 2009:298).<\/p>\n

         <\/p>\n

        ZAKLJU\u010cAK<\/strong><\/p>\n

        Sam koncept konzumerizma promatran s platforme potro\u0161a\u010dke ideologije u socioekonomskom konceptu dana\u0161njice potpuno je dominantan. Dokolica u trgova\u010dkim centrima, \u017eelja za kupnjom i potro\u0161njom dio su seduktivnih tehnika gospodarskih subjekata. Korak dalje je buditi \u017eelju za ne\u010dim \u0161to se ne mo\u017ee posjedovati, \u0161to pripada uskom krugu potro\u0161a\u010da, a kroz konstrukte luksuznih marki prezentira se kao ne\u0161to uzvi\u0161eno i nedostupno. Sedukcija kroz mo\u0107 marke, sedukcija kroz pri\u010danje pri\u010de o marki i njezinim komparativnim posebnostima luksuznu industriju predstavlja kao ne\u0161to izuzetno mo\u0107no. Mo\u0107 upravo takve industrije odra\u017eava se tijekom svake ve\u0107e gospodarske depresije jer to tr\u017ei\u0161te doista raste, a cilj mu je socijalno diferencirati – upravo suprotno klon efektu, prema kojem svi izgledaju isto i imaju potpuno iste potro\u0161a\u010dke navike uvjetovane trendovskim konstruktima. Socijalna diferencija koja se odra\u017eava kroz na\u010dela luksuznih marki \u010desto kr\u0161i na\u010dela dobre poslovne prakse, a sa socioeti\u010dkog aspekta je potpuno neprihvatljiva. Uz takva na\u010dela ona u potpunosti ne po\u0161tuje niti na\u010dela uobi\u010dajene ekonomije, ru\u0161i marketin\u0161ki ustaljen hodogram diktiraju\u0107i posve nov komunikacijski aspekt potro\u0161a\u010dkog dru\u0161tva. Njezina dobra karakteristika je to \u0161to izda\u0161nije puni prora\u010dun kroz poreze, a djelomi\u010dno joj se mo\u017ee priznati i poku\u0161aj konstrukcije specifi\u010dnog odr\u017eivog razvoja koji ipak dominantno ostaje posao ureda za odnose s javno\u0161\u0107u velikih kompanija, a ne iskren doprinos prirodi i zajednici s kojom (kao i svi) kohabitira, i tu mo\u017eda metodom sanjarenja \u2013 ostaje nedosti\u017ena i drugima. <\/p>\n

         <\/p>\n

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

        Amatulli, Cesare A. et all., The Importance of Dream in Advertising: Luxury Versus Mass Market<\/em>, International Journal of Marketing Studies<\/em>, 10 (4\/2018), str. 71-81<\/p>\n

        Bourdieu, Pierre, Distinkcija: dru\u0161tvena kritika su\u0111enja<\/em>, Antibarbarus, Zagreb 2011. <\/p>\n

        Bruckner, Pascal, Napast nedu\u017enosti<\/em>, Nakladni Zavod Matice Hrvatske, Zagreb 1997.<\/p>\n

        Eagleton, Terry, Kultura,<\/em> Naklada Ljevak, Zagreb 2017.<\/p>\n

        Hromad\u017ei\u0107, Hajrudin, Konzumerizam: pogonska snaga ideologije kasnog kapitalizma, u: \u010coli\u0107, S. (ur.), Potro\u0161a\u010dka kultura i konzumerizam<\/em>, Institut dru\u0161tvenih znanosti Ivo Pilar, Zagreb 2013<\/p>\n

        Kapferer, Jean-Noel i Bastien, Vincent, The luxury strategy, Break the rules of marketing to build luxury brands,<\/em> Kogan Page Limited, London 2009.<\/p>\n

        Lojki\u0107, Martin, Dru\u0161tveno zna\u010denje, funkcija i svrha robe, u: \u010coli\u0107, Snje\u017eana. (ur.), Potro\u0161a\u010dka kultura i konzumerizam<\/em>, Institut dru\u0161tvenih znanosti Ivo Pilar, Zagreb 2013.<\/p>\n

        Okonkwo, Uche, Sustaining the luxury brand on the Internet, Brand Management<\/em>, 16 (5- 6\/ 2013) 02-310<\/p>\n

        Stani\u0107, Sanja, Trgova\u010dki centar kao reprezent potro\u0161a\u010dkog dru\u0161tva, u: \u010coli\u0107, Snje\u017eana. (ur.), Potro\u0161a\u010dka kultura i konzumerizam<\/em>, Institut dru\u0161tvenih znanosti Ivo Pilar, Zagreb 2013.<\/p>\n

        Veblen, Torsten, Teorija dokoli\u010darske klase<\/em>, Mediterran publishing, Novi Sad 2008.<\/p>\n

        Volter i Ruso, \u017dan \u017dak, Debata o luksuzu<\/em>, Akademska knjiga, Novi Sad 2017.<\/p>\n

        Zombart, Verner, Luksuz i kapitalizam<\/em>, Mediteran i Kulturni centar Novog Sada, Novi Sad 2011.<\/p>\n

        URL = http:\/\/www.novilist.hr\/Scena\/Moda\/LUKSUZ-U-PLAMENU-Burberry-spalio-neprodane-torbe-odjecu-i-parfeme-vrijedne-milijune<\/a> (pristupano: 10.10.2018.)<\/p>\n

        URL = https:\/\/r.lvmh-static.com\/uploads\/2014\/11\/lvmh_environment_2017en.pdf<\/a>(pristupano: 11.10.2018.) <\/p>\n

         <\/p>\n

        Luxury \u2013 a Metastasis of the Concept of Consumerism<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Apart from deconstructing the concept of luxury in it\u2019s basic lines, this work dominantly deals with this concept in the context of cosumerism. The paper gives some ethical norms that in search of happiness confirm luxury as a philosophy whose primary task is social distance. Therefore, luxury should not be discussed from a purely economic-consumer perspective. It is primarily a sociological issue through which we read aspects of identity, cult of beauty and social status. Comparing consumerism and the search for happiness, the paper presents examples of ethically disgusting business moves aimed to preserve brand\u2019s reputation and defending it in front of a narrow circle of consumers, while at the same time increasing lust, dreaming and desire among those who are not. The author also deals with the topic of sustainability which supports the image that luxury brands want to create about themselves as a leaders in this field. At the same time, it is debated whether the new ecological perspective is more a context of public relations than what should be its primary purpose.<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> luxury, consumerism, happiness, ethics, consumer.<\/em><\/p>\n

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

        \n  11(20)#5 2022<\/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

        		\n

        DOI 10.46640\/imr.11.20.5<\/a>
        \n UDK 2-526.6:316.77
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 5.3.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Kre\u0161imir Katu\u0161i\u0107<\/span><\/p>\n

        Slobodni umjetnik<\/p>\n

        A Phylosophical view of the Problem of Symbolic Form<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (483 KB), English, Str. 3311 – 3329
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         <\/p>\n

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

         <\/span><\/p>\n


        \nEven if it is a tangible, symbol belongs to the domain of the image because we experience it with sight. It is precisely this original domain that is the link that completes communication, because after all, before language there was an image provided to us by the organ of sight, the eye. We first saw, and only later adopted the language which proves the analogy of the connection of these two forms of communication. What we cannot say with language, we try to convey with a picture. Every culture complemented this communication problem with a symbol that sought to touch the sacred, the unspeakable. At first glance sometimes by a different form, but with a common essence.
        \n<\/em><\/p>\n

              <\/span><\/p>\n


        \nThe course of the development of the symbolic form, what it represented and how man used it in the past and how it is used now, seeks to show within the opinions and research of individual authors who have dealt with the problem of symbolic form.<\/em><\/p>\n

              <\/span><\/p>\n


        \nThis is also the introductory part of the doctoral thesis \u201cSculpture as a symbolic form in the artistic-ritual act – Nexus\u201d which sought to prove the universality of the individual creative process as a form that allows man to self-knowledge.<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> symbol, symbolic form, communication, forms of communication, form, phylosophical view.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        1.<\/strong> Symbolic form as a consequence of the theogonical process: Friedrich Wilhem Joseph Schelling<\/strong><\/p>\n

        The first part of the dissertation presents my reflections on symbolic forms as ideas used by consciousness on its cyclical journey, which Wilhem Joseph Schelling incorporated in his two-volume work The Philosophy of Mythology<\/em>. Due to the topic, universal symbols, the focus will be on the simple and unifying perceptions of consciousness, which Schelling believes to have existed in humankind before the completion of the ancient Greek mythology. Aided by the rational mind, consciousness perceives more details, thus moving away from the source. The aim is to tackle the first part of the Schelling’s analysis, where consciousness is at the very beginning of creating mythology, that is, closer to the source, the origin. Consciousness that is closer to the origin senses the entirety, the unity.<\/p>\n

        Schelling argues that it is a fallacy to separate, forcibly and ignorantly, monotheism from polytheism, as god is in existence, and what exist is the essence of that god, which need not be himself, which means that god is like a spirit that may or may not be in essence. The laws of nature that are manifest and active in essence are, like in ancient Greek times, personalised gods that man interacts with while existing in essence. The aim of the man’s journey is therefore to surpass essence and reach god himself, the oneness. It is precisely the function of mythology to bring awareness to what exists, established relationships and possibilities for action within essence. These possibilities are potencies that Schelling terms the universe, meaning a ‘reversal of unity’,<\/a>[154<\/strong><\/span>]<\/sup><\/a> which is not the material world, but still the world of ‘pure potencies’, a purely spiritual world. Schelling notes that the theogonical process in consciousness has an objective meaning, but then this term also has to have a meaning irrespective of human conscience. God exists in all potencies, a double will that creates tension without entering it, seeking only unity, which is his aim. Schelling emphasises that in the Greek use of language mythology and theogony have the same meaning.<\/p>\n

        In the first volume of The Philosophy of Mythology<\/em>, Schelling assigns mythology the value of objective truth. This objectivity is of a completely different kind from any scientific or religious system.<\/a>[155<\/strong><\/span>]<\/sup><\/a> It abides by the cosmic law, has a general content and truly objective character. In the theogonical process of developing mythology, the first assumption is potential monotheism, coupled with the essence of man, which lays the foundation for the theogonical movement of consciousness. Monotheism is justified by using the term the highest cause and by considering that god is one and that there are no other gods besides him. However, Schelling remarks that there is a creative force and a disintegrative force, so that God seems to have a twofold character, embracing the one who creates and keeps order and the one who disintegrates and returns everything to the potential state, the state of chaos. He goes on to emphasise that polytheism does not actually exist, because pagan gods acquired meaning inadvertently and are not real gods, but personified natural forces. He defines god as essence, the very existence, while also stating the need for philosophy to extract this god from essence that is identical to substance and introduce him to essence that is different from substance. This essence still returns to substance, which is its vital, but not real essence. Therefore, the very essence, which is claimed to be god, is not what it already is or can be. ‘God is, in this sense, outside or beyond essence, but he is not only by himself free from essence, pure substance, he is also free with regard to essence, that is, he is a pure freedom to be or not to be, to accept or not to accept essence, as expressed by the phrase ‘I will be present as the one who will be there’.<\/a>[156<\/strong><\/span>]<\/sup><\/a> Accordingly, the whole essence is just the essence of god, which is, Schelling argues, usually termed pantheism. True pantheism means nothing else but to overcome it and reach god, the unity. Schelling, accordingly, concludes that the principle of pantheism is only an element of monotheism. <\/p>\n

        If god really exists, he can only exits as all-one, argues Schelling. <\/p>\n

        Schelling wonders whether monotheism is in any original way related to human consciousness. In the theogonical process, which is the divine universe, the absolute spirit is materialised through lively concatenation. This spirit does not need such materialisation for itself and such movement is useless for it. Something outside itself has to be willing to undertake the process, so that it is also the process of creation, where potencies are considered as ‘the causes of the potential genesis of previously non-existent things’. <\/p>\n

        Schelling explains that the process begins with the divine will that places that which need not be, as a means. This means, which is the first to enter essence influences pure existence by excluding it and placing it as that which needs to be; returning to non-essence the means leaves a void, which must be filled by the third. According to the Pythagoreans, 1 \u2013 causa materialis<\/em> (that out of which a thing comes to be) is in the process altered, transformed into non-essence, pure possibility. This happens in 2 \u2013 causa efficiens<\/em> (that which brings about the effect), and in 3 \u2013 causa finalis<\/em> becomes, ends or comes to standing. In order to function harmoniously, these three causes are determined by causa causarum<\/em>, the cause of the causes.<\/a>[157<\/strong><\/span>]<\/sup><\/a> Shelling affirms that the deity and that which makes up these three potencies are one and the same. He calls these potencies causes or principles, as the possibilities of a future essence different from god and, in the process after putting into operation, essence equal to god, which needs yet to be produced. Schelling demonstrates by this process that the theogonical process is essentially a creative process, concluding that true monotheism evidently comprises free creation. This process determines human consciousness as the aim and purpose of the whole natural process, where it reaches the moment when potencies have again achieved unity. This unity will be achieved as a consequence of the process in which the means that abolishes god has again been transformed into god. Schelling emphasises that what is important in man is consciousness that returns to god through the process. This constant movement of human consciousness is not accidental, as it is conditioned on some power of force, with the original state of consciousness being the source of explanation for mythology. Furthermore, Schelling explains mythology as ‘the outcome of a process that man’s consciousness becomes entangled with in the first transfer to reality, a process that is only the repetition of the general theogonical movement.’<\/a>[158<\/strong><\/span>]<\/sup><\/a> The process takes place only in human consciousness and manifests itself through its changes that are considers as ideas, while it is real and objective towards its causes. A complete understanding of mythology depends on a higher stage of development of human consciousness. Blessedness is not given to humans, but the divinity intentionally puts a human being into duality to achieve that blessedness or to lose it. This view can also be found in the prehistory of the Old Testament and in the legends of ancient civilisations. It is necessary to use the will to come out of the ostensible possibility and enter the possibility of being. <\/p>\n

        Schelling emphasises that the Greek mythology is the end of the mythology origination process. Mythological concepts emerge from inner consciousness, having been derived from the same source as the revelation of biblical truths, therefore from the source of the thing itself. He quotes the example of the myth of Persephone, which hides the keys to the mythology and its origins in the deepest meaning of human survival and consciousness.<\/a>[159<\/strong><\/span>]<\/sup><\/a> This is the potential of pre-consciousness, innocence that does not recognise sexual duality. This assigns meaning to Greek mysteries as the science of gods, albeit the esoteric, secret science of mythology itself, communicated only to the initiated, which is disclosed at the end of the consciousness development process. At the end of the process, consciousness is returned to potency, its latency, spirituality.<\/p>\n

        Astral religion, as the first phase of the mythological process and the first polytheism, was the oldest religion based on realistic foundations, rather than on subjective notions, concludes Schelling. Gods were believed to be stars. Man worshipped celestial bodies, especially the sun and the moon, because he was aware that he depended on them. Rather than the outer body of a star, its internal principle was worshipped, its true self, purely astral, the true star. It was not nature that was worshipped in them, but that which was beyond nature. Therefore, the gods that emerged to enable consciousness to visualise its speculations actually constituted one god divided into multitude. This means that the worship comprised a single true essence, rather than the one manifest in multitude. What matters here is the relation of consciousness to the principle. Astral religion, which Schelling designates as Zabism, was the religion of the part of humanity that at the time did not yet transition to the historical life and the oldest system of the yet undivided humankind. Being with consciousness focused on pure essence, the one, left no room for divisions within humanity. <\/strong><\/p>\n

        The further development of mythology involved presenting the powers of certain natural phenomena as personal. The personification started from the most familiar phenomena and forces, primarily the sky.<\/a>[160<\/strong><\/span>]<\/sup><\/a> Schelling emphasises that the first religion of humanity, the worship of the sky, reflected religious conscientiousness as a whole. In addition to the worship of celestial bodies, serving the elements also had a spiritual meaning and they were not personified, just like the stars.<\/a>[161<\/strong><\/span>]<\/sup><\/a> The Persians later tried to reach the god and the unity through Mithra, but that was no longer an astral religion, and, especially after the dualist concept of good and evil, the wholeness was left too far behind and breeding ground created for the further development of mythology. Consciousness continued to create the whole constellations of deities, which one notices by comparing the theological symbolism of ancient civilisations. The same principles were given different names, the most illustrative example being the relation between the Greek and the Roman mythology: Zeus \u2013 Jupiter, Hermes \u2013 Mercury, Athens \u2013 Minerva, Afrodite \u2013 Venus. This leads to the conclusion that the whole civilisations based their cultures on elaborate symbolic and theological systems (Egyptians, Persians, Chinese, Indians, Greeks, Romans, Aztecs, Mayas, Incas …). Schelling notes that the theogonical movement was brought from its origin, astral religion, to the peak of mythology: the Hellenic mythology and its esoteric birth of gods. He considers the Hellenic polytheism to be the necessary transition to a higher, purer cognition.<\/strong><\/p>\n

        The continuation of this process can be observed in science, where the rational mind had to continue its journey after the experiment of Christianity as a religion that tried to bring back man closer to god, the origin, through faith. It seems that, setting aside individual journeys, the collective journey of humankind has last until awareness is raised of the consequences, the final boundaries of the purely rational comprehension and attempt to establish control over man and his world. It remains to be seen whether this civilizational journey will end by harmonising with the big organism of universe or the wish for power that is in disbalance with consciousness will lead us to the end owing to an error with major consequences. This collective journey is currently materialised in the need to produce the technology that uses and analyses principles \u2013 laws in order to create an alternative virtual world supervised by artificial intelligence. Therefore, we are still on the same path of the rational mind leading our conscientiousness into the individual. On the other hand, the control of the positions of power happens by means of the technological apparatus, which provides for a virtual community that continues to have a magical impact on consciousness as it is of the archetypal origin. Subversive action is also possible in the virtual community if control is avoided. However, without an intuitive insight in the unity of the world, which would connect all knowledge and amalgamate it in action in accordance with that knowledge, a qualitative step forward for humankind cannot be made. <\/p>\n

         <\/p>\n

        2. Philosophy of the symbolic and mythical: Ernst Cassirer<\/strong><\/p>\n

        The world of symbols and symbolic forms was also explored by another philosopher, Ernst Cassirer. In his work The Phylosophy of Symbolic Forms<\/em>, he explores the possibilities and role of language as well as its powerlessness as regards experience. In the second volume of his work, entitled Mythical Thinking, Cassirer seeks to demonstrate the role of symbolic language in human cognition.<\/p>\n

        In the first volume of The Phylosophy of Symbolic Forms, <\/em>Cassirer alleges that Plato’s theory of ideas is the first explicit form of expressing the fundamental spiritual assumption of the overall philosophical understanding and explanation of the world. Plato was the first to interpret the notion of ideas and the meaning of it, although explanations to this effect were\u00a0 sought from the Eleatics, Pythagoreans and Democritus. In contrast with the mythical pre-Socratic understanding, Plato offers a dialectical conception of existence. From that point on, each new movement and observation in the historical development of idealism generates a new moment, new intellectual symbols are created as the fundamental terms of each science that asks new questions and formulates new solutions. In addition to intellectual synthesis through a system of scientific notions, the entirety of spiritual life comprises other methods of formation. Their aim is not logically determined and they are not subject to the laws of logic. Symbolic creations as the own perception of reality create art, science, myth and religion (Cassirer). Spirit achieves self-awareness in various ways. It is expressed through language, science, myth and art components of the culture, with the result that the passive world of beliefs becomes spirit expressed in the world.<\/p>\n

        Language that enables reflection gives rise to philosophical reasoning. The meaning of words is not a consequence of the free activity of spirit. The word is not a spiritual symbol of essence, but its real part. In the mythical perception of language, the name of a thing is also its essence, so that the word has magical characteristics. The one who knows the name owns the thing.<\/p>\n

        The Greek philosophy aims to explain rationally the knowledge of the mythical world: the term ‘logos’ is akin to the mythical concept of the ‘dignity and omnipotence of the celestial word’<\/a>[162<\/strong><\/span>]<\/sup><\/a>. The word limits the object it denotes and defines it unilaterally. In order to achieve better understanding, the term comprised by the word needs to be juxtaposed with the opposite term. One recognises here the Heraclitus’ interpretation of the harmony of the cosmos as the unity of opposites: ‘God is day-night, winter-summer, war-peace, plenty and hunger: but he changes like fire, which, when mixed with incense smoke, can be called whatever one pleases, one way or another.’<\/a>[163<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Cassirer perceives the Heraclitus’ metaphysics as the unity that taught about the identity and contrast between the word and essence. ‘The identity that, according to Heraclitus, exists between the wholeness of the language and the wholeness of the mind, Plato applies to the relationship of a single word to its intellectual content.’<\/a>[164<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The arbitrariness typical of the use of words calls into question the objective exactness and necessity of reasoning and its content. This is very convenient for sophism, which relativizes all knowledge. The Socratic induction referred to the constant identical conceptual form as the original form hiding behind the indefinite form of the word \u2013 eidos<\/em>, which established the possibility of verbal communication as thought. Cassirer points out that in the Seventh Letter Plato acknowledges the cognitive value of language in the methodological sense and its value as the starting point of cognition, but nothing more than that. He believes that language has a more changeable character and encompasses less of the actual content of the idea than sensory perceptions. Plato understands language as the ‘representation’, the rendition of a specific meaning by a sensuous sign. Philosophy cannot find an analogy for the relationship between the ‘word’ and the ‘sense’, for the relationship between the ‘sign’ and the ‘meaning’ it denotes. The central idea of the Plato’s theory of ideas is the one of ‘participation’. In ‘participation’ the content is, in fact, both the moment of identity and the moment without identity, it comprises the necessary connection and unity of elements, but also their sharp principled separation and differentiation. The ideal meaning, which Plato considers to have the physical-sensory form of the word, cannot exist within the boundaries of language. <\/p>\n

        Cassirer also emphasises that his process of the education of language shows how we clarify and organise the chaos of immediate impressions by ‘naming’ it and thus imbuing it with the function of linguistic expression and linguistic reasoning. In the world of linguistic laws, the world of impressions acquires a new content because it obtains a new spiritual articulation. Because of their contemplative quality, they are placed above the sensory. In this way language becomes a fundamental spiritual means, facilitating progress from the mere world of emotions to the world of perceptions and representation.<\/p>\n

        However, if we believe that the real and important task of language is to express reality in individual feelings and perceptions in the medium of verbal communication, we will realise that every speech is incapable of performing this task. When language attempts to compete with emotions and perceptions in this sense, it is immediately proven powerless.<\/p>\n

        Cassirer maintains that that language develops through three stages: the mimetic, analogical and purely symbolic. The beginnings of verbal communication are related to the sphere of mimetic representation and denotation, like the roots of the language of expressive movements. The voice is, logically, in the vicinity of a sensory perception, so that language is not satisfied with a general denotation, but each nuance of the phenomenon is accompanied by a specific vocal nuance. The assumption that the denoted perception is related to the oldest words is vital for the explanation of the genesis of language, states Cassirer. The analogy of forms achieved in the interaction of sounds and the denoted content enables the coordination of sequences whose content significantly varies. Irrespective of whether language starts from the mimetic or analogical expression, it constantly strives to broaden the boundaries of the particular expression and achieve a universal meaning. In this way, it gets rid of the mimetic and analogical expression and transitions to the symbolic sphere as the bearer of a new and deeper spiritual content. <\/p>\n

        As regards culture, Cassirer asserts that in the process of formation and education it increasingly removes us from primeval life. The words of language, the images of myth, art in the intellectual symbols of cognition as the products of spirit also confine it. Cassirer proposes distancing from mere designation and recording and returning to the original sphere of intuitive viewing. He assigns the philosophy of culture with the task of proving the unity of spirit as opposed to its multiple manifestations. This is another reference to the Heraclitus’ metaphysics and the assumption of the harmony of the cosmos as the ‘unity of opposites’.<\/p>\n

        In Volume 2 of The Philosophy of Symbolic Forms<\/em>, titled Mythical Thinking<\/em>, Cassirer inseparably associates the issue of the origin of myth with the issue of the origin of language, positioning them together and interrelated in the unity of mythical consciousness. He explains the magical worldview as ‘the translation and transposition of the realm of subjective emotions and instincts to sensory-objective existence’.<\/a>[165<\/strong><\/span>]<\/sup><\/a> The soul, rather than being a substance separate from the body, is life equal to the body and inseparably linked with it. The phenomenon of death does not break the link between the body and the soul, having all authority over the physical existence it is involved in its destiny. The boundary between life and death remains fluid for mythical thinking. Death is in terms of myth only a transition to another form of existence. This existence is the prolonged existence on the sensory-earthly plane. The soul, with all its characteristics, remains linked to the material world.<\/p>\n

        Cassirer notices the precise systematic differentiation of individual souls and their functions in the Egyptian religion. ‘In addition to the elements constituting the body \u2013 the flesh, bones, blood and muscles \u2013 there are other, finer elements, also still imagined as material, which constitute various souls of a man. In addition to ka<\/em>, which is the spiritual double that resides in a man’s living body and remains with his corpse as a kind of guardian spirit after his death, there is another ‘soul’, ba, <\/em>which has a different meaning and form of existence, and flies from the body at the moment of death shaped as a bird, wandering freely and only occassionally visiting ka<\/em> and the corpse in the grave. The literature also mentions the third ‘soul’, akh<\/em>, which is depicted as indestructible and immortal, the closest in meaning to our idea of ‘spirit’<\/a>[166<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

        As regards the birth of the soul through initiation, an interesting example is the initiation of boys into manhood practised by a tribe in the hinterland of Liberia. There is a belief that boys are killed by the forest spirit as soon as they enter the holy grove in which the initiation takes place. By this act, they are awoken to their new life and reborn in spirit. These initiations are believed to be mythical events and are separated from life by magical customs. These events are not part of the evolutionary development, but mark the obtaining of a new ‘soul’. The Egyptian texts contain the oldest historical evidence of such initiations as transitions to a new ethical form of the self. The Egyptian belief in the soul assumes the continued existence of its material part. The care for the soul of a dead man is manifested in caring for the mummy. As there are three souls, the Egyptians express this moment in the form of its cult. The religious idea rises from the material concrete corporeality, with which the cut was originally connected, to the pure form of the image. Besides the mummy, which guarantees preservation, the sculpture also proved to be a successful instrument to achieve immortality. The Egyptian visual art arose from this religious perception. <\/p>\n

        As regards the mythic time, Cassirer believes it to be defined by ‘sacred days’, feasts that deliver the ‘self’ to the present, past and future through co-belonging and interdependence. In the mythical consciousness there is no limit between the image and the thing, the demonstrated and the real, the sphere of death and the sphere of life, essence and non-essence, everything is fused in one common essence. Nature and truth are merged. <\/p>\n

        The man’s ascension from the sphere of magic to the sphere of religion, from fear of demons to faith in gods enables him to understand both his external and his internal world in a new spiritual form. The Greeks invested strong efforts into the rationalisation of the ancient mythical knowledge. Plato in Phaedo views the soul as the harmony of the body. The soul begins to be viewed in the idea of measure, logical and ethical order. The number thus becomes the master of cosmic existence and, consequently, of the divine and the demonic. This was an attempt at overcoming the mythical-demonic through the law expressed in the number. In the Greek philosophy, ethics supplements this theoretical overcoming of the mythical. ‘Starting with the Heraclitus’ attitude that the man’s demon is his character, this development continued to the times of Democritus and Socrates. This relation may be the one that completely illustrates a special meaning and sound characteristic of Socrates’ daeimonium<\/em> and his term eudaimonia<\/em>’.<\/a>[167<\/strong><\/span>]<\/sup><\/a> Eudaimonia is based on a new form of knowledge discovered by Socrates. ‘It is attained once the soul is no longer only a natural potency, when it is understood as a moral subject’.<\/a>[168<\/strong><\/span>]<\/sup><\/a> Man is released of his fear of demons, of the unknown; he is no longer ruled by the dark force, but capable of shaping his existence based on a clear insight, by knowledge and volition. Through the idea of self-responsibility, man acquires his true self. ‘The self feels and knows itself only if it sees itself as a member of a community, connected with others in the unity of one group, one tribe. It is only in this unity and by means of it that the self owns itself; its own existence and life in all its manifestations is connected, as if with some invisible magical ties, with the life of the collectivity encompassing it’.<\/a>[169<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Upon reading Cassirer’s three-volume Philosophy of Symbolic Forms<\/em>, one finds it easy to distinguish the contemporary ‘ideological mythologisation’ from the prehistoric times of the mythical consciousness. The first thing we notice is that the mythical conscience requires a community that a subject feels connected as one with, breathing along the rhythms of the universe. The contemporary society is divided into various vested interest groups. Certain ideas are lived as lifestyles, changing with the change of worldviews or fashion. Subcultures emerge in response to the shallowness of culture, which is fragmented in its essential components (philosophy, religion, science and art). Art is becoming elitist and turning into a technical-estheticized support to science. By limitless denotation, science is trying to control nature, but fails to reach the original causes and seeks the formula for eternal life through the ‘cyborgisation’ of human body. The fear of death has been increasing. The subversive thought of philosophers, writers and social theorists, having exhausted political ideologies, is re-examining the issue of human soul and, in terms of ideas, often seeks them in a period much earlier than that pre-Socrates era. Since the development of the civil society and the emergence of sophists, the subject has been less and less perceived as part of the cosmos; while affirming its ideas and striving to individual power, the subject abuses language, manipulating the masses. There is neither collective consciousness nor will for original life, which calls for focus on individual intuitive cognition. This intuitive cognition would presume the linguistic and corporal speech as the openness of the subject, ‘testifying’. The ‘testifying’ could be perceived as ‘the memory of the soul’, as discussed by Plato, the striving of the soul to return to the origin. This idea creates a possibility for intuitive cognition to open a new chapter for perception, which would renew the language and therefore also the ‘cosmic event’ in the human key.<\/p>\n

         <\/p>\n

        3. Work of art as a symbol and the opening of the being as truth: Martin Heidegger<\/strong><\/p>\n

        Martin Heidegger’s collection of papers Forest Paths<\/em>, published in 1949, contains an essay on the origin of the work of art. Heidegger concludes at the very beginning of the essay that art no longer has any connection with reality.<\/a>[170<\/strong><\/span>]<\/sup><\/a> He goes on to state that the essence of art shows what the work of art is. In addition to being an objectified thing, the work of art is an allegory, a symbol. It is a thing with its core of collected features. It has the characteristics of ‘presence’<\/a>[171<\/strong><\/span>]<\/sup><\/a>, the essence of the being. He explains and elaborates that the thing consists of the substance necessary for artistic formation. He seeks the material presence of the thing whose essence must be unconcealed.<\/a>[172<\/strong><\/span>]<\/sup><\/a> The work of art must allow for the opening of the essence in its truth ‘into what and how it is’, which leads to the conclusion that the essence of art is : ‘the self-positioning of the truth of the being into the work of art’.<\/a>[173<\/strong><\/span>]<\/sup><\/a> He considers such art to be beautiful because it creates beauty while not being beautiful itself, explaining his thesis by the conclusion that beauty is related to esthetics and truth to logic. Placing the truth of the being into the work of art signifies the emergence of reality through art. The work of art discloses the truth of the being, opens the essence of the being. <\/p>\n

        Heidegger concludes that artworks exhibited in museums have been removed from their real space and time in which they were created. Heidegger terms the time-space in which the truth of the being was being uncovered through the work of art the work’s essence. The artistic drive does not reach the work’s essence, but only the object’s essence. The positioning of the work as a sculpture or a piece of architecture in its place differs from the positioning as consecration. Consecration is an act of making something sacred, disclosing the sacred and inviting the presence of god. This is the event of the opening of the world in which the work’s essence is precisely the establishment of a world. This world cannot be seen as an object, but rather represents putting everything created into a living relationship, an arrangement.<\/a>[174<\/strong><\/span>]<\/sup><\/a> In establishing one world and producing the ground, Heidegger sees two important features in the work’ essence. This happening is the unconcealedness of the being, the play of the being where truth must be obtained as a whole, that is, pass from its concealedness to unconcealedness. The existence of truth as unconcealedness is a way of the manifestation of beauty.<\/a>[175<\/strong><\/span>]<\/sup><\/a> Heidegger reflects on the nature of truth and its potential or even necessary manifestation through art. Creation is production. It is important for the work of art to express the unconcealedness of the being and not that the artist is a great master. The circumstances, the artist and the course of creation must remain unknown, what matters is the impact of unconcealedness, truth being discovered. The more of essence is dislosed in the work of art, the more amazing and lonesome it is. Therefore, in order for it to reach the openness, a creator is required. The creator also protects the work, because it must live in the openness through which the essential is manifested. Such life is volition, resulting from the experience of reasoning in essence and time, alleges Heidegger. This volition resulting from experience places man in abandoning immersion in the purity of essence. This means the overcoming of the own self, by putting in the position of openness of the being by the work that is thus brought into law. This knowledge gained by experience of a man is thus manifested in the truth of the work. Therefore, the definition of art is placing truth in the work, which is why it is the source and man the creator of the work, artist. Furthermore, the work of art and the artist are together in the essence of art, which is then ‘the self-putting of truth in the work.’<\/a>[176<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Therefore, based on the Heidegger’s elaboration, one could conclude that the work of art is a symbol of a condition. This condition is the openness of the being in essence, of the man who testifies to the truth of that condition as a consequence of life in openness. The consciousness of man records the perception of that which emerges as truth by image or script, or, in a simpler geometrical form, as a symbol. <\/p>\n

         <\/strong><\/p>\n

        4. Art and cult: Alois Halder<\/strong><\/p>\n

        At one point in his search for the meaning of art, Alois Halder concludes: ‘Art is a successful revelation of that which is presence, where this revelation is neither reality itself, nor essence itself. Presence is an essential reality or real essence. Art is a successful fight for real essence or essential reality.’<\/a>[177<\/strong><\/span>]<\/sup><\/a> The subject aims to disclose that perception, but the subject is always part of a community. This community has its beliefs, religion and cult. The artist’s perception is therefore realised within the community and its cult plays, feasts and celebrations. According to Halder, if historical sciences claim that art in early communities was almost identical with religion and its cult component, there has to be a link between modern art and religious cult.<\/a>[178<\/strong><\/span>]<\/sup><\/a><\/p>\n

        In the the early history art, myth was not a pattern, but ‘a perceptive performance, the action of the mythical word’, mythical event, sacred play, that is, the real condition of what historically is the condition of the world. In the beginning, art was cult, the celebration of transforming the profane reality into mythical reality, states Halder. Dance, drama, music and visual arts are part of the mythical cult that tries to imitate the cosmic order, its play. Halder asks the following question: ‘What does art as a product of perception produce at present time’?<\/a>[179<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Art is the product of perception, but the work of art depends on what perception and its essence are. ‘Perception is presence.’<\/a>[180<\/strong><\/span>]<\/sup><\/a> The essence of perception in the art of the ancient peoples is myth. The mythical reality is the sacred reality, the true reality, truth beyond the profane reality. Myth is the ‘law of reality’, the sacred reality in the sacred word. Art performs myth in the celebration of pre-occurrence as the law of that reality, states Halder. The word is not a ‘pure acoustic signal’, but the presence of pre-occurrence in its truth. Halder wonders whether myth is the original poetry and poetic language the earliest art.<\/p>\n

        Myth and cult are closely connected, inseparable. Myth is, therefore, as pre-occurrence, fulfilled in the man’s cult activity. The human activity is the event of pre-exemplary cosmic occurrence. This is a symbolic action of the penetration of truth into reality, the meeting of the sacred and the profane. The symbol enables the transfer of the sacred, the truth. The cult places then enable the symbolic transformation of time and space into the eternal present, cosmic event. This world needs to be replicated and is repeatedly invoked in the cult event of the community. The mythical event that is embodied by the cult is called memory. Finally, the cult assigns meaning to the profane reality. <\/p>\n

        Ethnology and the science of religion, as modern scientific disciplines, are aware both of the analogy and the difference between art and religion. In the beginning, there was a unity of art and cult.<\/p>\n

        The philosophy of art claims that art is historical because it constantly manifests ‘perception in its essence’, creating a world based on this perception.<\/a>[181<\/strong><\/span>]<\/sup><\/a> Examples to this effect can be found in the whole history of civilisations: Persia, Egypt, Greece, and Central America. The early art is therefore the manifestation of the mythical reality, cult. However, Halder notes that the essence of art depends on the type of myth. Myth is every time a different ‘reality’. And this reality influences ‘perception’. If art is originally a mythical cult of the emergence of truth through ‘feast and celebration’<\/a>[182<\/strong><\/span>]<\/sup><\/a>, as a sacred play, what is its today’s relation to its source, wonders Halder. <\/p>\n

        Today art is ‘profaned’; for Halder, important questions are whether it has the characteristics of cult and what its community is like. What is art and what does it represent if the presence as essential reality is demystified<\/em>? This remains to be seen.<\/p>\n

         <\/p>\n

        5. Myth as a communication system in the contemporary world: Roland Barthes <\/strong><\/p>\n

        Mythical structures can enter everyday phenomena and objects through the act of naturalisation, where the historical turns into the natural, alleges Barthes in his work Mythologies<\/em>. Conformist politics and mass culture media are tools that create myth in the contemporary world. If we are not familiar with the essence of things, we are always subject to manipulation by way of mystification. In order to gain a real insight, one needs to penetrate below superficial acceptance and undertake research by comparing everyday phenomena and their consequences. The result will always be some kind of manipulation by statement, which is an interest-based message.<\/p>\n

        The specificity of conditions has a role in turning a statement into myth. It is a message, communication system, labelling method, shape, and most certainly not an object, term or idea, concludes Barthes. Naturally, everything can be myth because the world itself is suggestive. When an object starts to be discussed, the message may be appropriated. It is important who speaks, but also who listens and in which context the object is mentioned, because the result may be either its superficial reading as a communication sign or a symbol connoting a wider essence. He also emphasises that the image and the letter do not address the same type of consciousness. The image imposes the meaning at once, without dispersing it, but as soon as it acquires meaning, it becomes the letter. For Barthes, mythology is part of the science of signs, semiology, established by Saussure in the first part of the 20th century. From him onwards, all contemporary research emphasises the issue of meaning. <\/p>\n

        The role of the signifier is ambiguous, because it is at the same time the form and the meaning. ‘As meaning, the signifier already postulates a reading, I grasp it through my eyes, it has a sensory reality (unlike the linguistic signifier, which is purely mental). As a total of linguistic signs, the meaning of the myth has its own value, it belongs to history. The meaning is already complete, it postulates a kind of knowledge, a past, a memory, a comparative order of facts, ideas decisions. When it becomes form, the meaning leaves its contingency behind; it empties itself, history evaporates, only the letter remains.’<\/a>[183<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Mythical terms are in constant flux, they arise, decompose, change, and disappear. Precisely because they are historical, they are subject to annulment. Myths can be deciphered only by naming concepts. Goodness, mercy, health, humaneness, these are terms from a dictionary, but precisely because of that they are not historical. Myth is a statement chosen by history.<\/a>[184<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Myth transforms meaning into form, thus committing a language-robbery, claims Barthes. Myth never imposes the whole meaning due to the abstractness of its concept.<\/a>[185<\/strong><\/span>]<\/sup><\/a> Myth always opens various meanings. Poetry and the mathematical language put up resistance and are therefore an easy prey for myth. Each myth can include its history and geography, and it matures by spreading.<\/p>\n

        Myth bases its historical intention in nature, a process that Barthes equates with a process of bourgeois ideology.’<\/a>[186<\/strong><\/span>]<\/sup><\/a> He points out that the world supplies to myth a historical reality and myth gives in return a natural image of this reality. Myth constituted by the loss of the memory of the origin of things, the loss of the historical character of things. In a dialectical relation between human activities, the world enters language and ‘comes out of myth as a harmonious display of essences.’<\/a>[187<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Barthes determines the function of myth is to turn reality inside out, to create sensory absence. It is emptied of history and filled it with nature, which removes from things their human meaning making them signify a human insignificance. Myth makes things innocent, basing them on nature and eternity, without any contradictions. Myth is therefore depoliticized speech, where political is understood as ‘the whole of human relations in their whole, social structure, in their power of making the world.<\/a>[188<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Men depoliticise myth according to their needs, treating it with regard to habit, rather than truth. <\/p>\n

        Barthes, therefore, concludes that reality is impenetrable and irreducible, and therefore poeticised, while the reality is penetrable for consciousness and therefore ideologised, He does not see a synthesis between ideology and poetry, while he understands poetry as the search for the inalienable meaning of things. .<\/p>\n

        However, Barthes sees present human alienation as the result of failure to achieve more than an unstable grasp of reality. He emphasises the powerlessness to render the wholeness of the object, because it is both liberated and destroyed when we penetrate it. On the other hand, if we acknowledge its full weight, we mystify it. He considers it necessary to reconcile reality and men, description and explanation, objects and knowledge.<\/p>\n

        Barthes designates myth as a form of naturalised communication in the contemporary world. In contrast with Schelling and Cassirer, who associate symbol with myth and mythical, Barthes understands myth as a manipulation of signs. Unlike symbols, which are the ideas of human consciousness on its path towards recognising the laws of essence until its return to the origin, signs are used for communication in a technologically objectified world of complicated human relationships. This is a major difference in the function between symbol and sign, and, in turn, in the function of myth for the mythical psyche and contemporary psyche. The power of myth is strong in both senses, because it speaks about the archetypal, about what man finds important in relation to the origin or, in the case of contemporary myth, it represents, or assigns the sign the power of a symbol and the archetypal role in the contemporary consumer society. To a man, object or ideology \u2026 so that the sign (with the power of a symbol) as an instrument of myth, provides an aura. Due to the auraticity, the power that an object gains over us, we become worshippers of contemporary myths and enter into a mystifying relationship with people, things and phenomena. The problem lies with the corruption of essence into which we have been drawn, \u2026 the civilizational position in meeting the requirement for the development of the technosphere<\/a>[189<\/strong><\/span>]<\/sup><\/a>, where free human creativity in the creation of thought and things disappears. It is possible to get elevated, but consciousness must be focused on the essential, common, binding, in order to overcome various manifestations of the individual. This will lead to the reconciliation of reality and men, description and explanation, objects and knowledge, everything that Barthes emphasises as important. There will no longer be any need for the creation of myths, because a proper relation of human essence will be achieved and intuitive life will return.<\/p>\n

         <\/p>\n

        6. Symbolic form in art as a cultural project: Hans Belting<\/strong><\/p>\n

        The way in which cultures incorporate the world into the picture defines their way of thinking. The revolution in the history of viewing was brought about by the discovery of the picture that simulated the view of the spectator, a view in perspective. The painter suggested a worldview, by means of the technique, and this worldview was in fact a scientific conclusion. The real view was considered to be analogous with the picture depicted in perspective. The picture thus started to copy perception.<\/a>[190<\/strong><\/span>]<\/sup><\/a> That picture was a cultural technique, with a decisive impact, argues Belting. The view was put into the picture, although this is actually impossible.<\/a>[191<\/strong><\/span>]<\/sup><\/a> We cannot get rid of that Western invention, notwithstanding the criticism. The perspective picture is thus a symbolic form through which the contemporary culture is presented. It is precisely based on Cassirer and its concept of symbolic form as myth and language that Erwin Panofsky establishes the same term in art, with the result that the contemporary art became a symbolic form through perspective. Belting wonders why Panofsky focused on the space, rather than on the view, which had already been discussed in debates on perspective. He claims that the answer again lies with Cassirer, who starts each chapter of The Philosophy of Symbolic Forms<\/em> with an analysis of space and time, following the example of Kant. Cassirer discusses space as the ‘world of pure perception’ and the necessity for it to be created all over again. However, Panofsky admits, states Belting, that perspective geometry neglects the impact of consciousness on our visual image, in contrast with ‘pure image on the retina’. Accordingly, geometrical perspective is the symbol of the view, rather than a means of perception. The culture of Renaissance emphasises the importance of the view of an individual, whose view is placed in the picture like his portrait on the other side, which is also a symbolic form.\u00a0 <\/p>\n

        The Western man of the New World wanted a new image of himself and his world, which he started to look for, like in reality, in the picture. This is the man who abandons the ‘collective condition’ of the Middle Ages and seeks new directions.<\/p>\n

        The narcissistic perspective was also justified by the change of the myth of Narcissus, to whom Belting refers too. The forms and contents from the antiquity were used to as the drivers of the engine to create something new in the Renaissance. Where the form from the antiquity was used, it changed content, and vice versa. The same happened with the myth of Narcissus, which Alberti used for the theory of perspective. By means of the technique of perspective, the new painting establishes our view to the painting, the view of the new Narcissus. From the Renaissance onwards, we analyse our mask, our unconscious, letting it into the world and back to us in the painting that we have painted or through the consequences of the world we have created. The new view of the world and ourselves, as well as of ourselves within the world, leads to the new Narcissus. This new Narcissus likes his reflection in the mirror.<\/a>[192<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Belting also notices the opposed use of the term window in the Western and Islamic culture. While the view within the painting is in the West suggested as realistic and yet very personal, the Islamic culture sets up a grid that is impermeable to the view, but permeable to light. Ligth penetrates the geometrical pattern of mashrabiya<\/em> and creates<\/strong>a play of light and shade. This arabesque made of light and shade has a symbolic character because light shapes it into simple geometrical forms. Light acquires the formation of a geometrical form that stimulates imagination, but towards cleaner, more abstract ideas. In the West, the perspective view of the painting places man in a historical context by the visualisation of a fashion detail, architecture, a form of social relationship. The perspective picture thus allows man’s consciousness to move within particularities in a given historical moment, thereby encouraging a rational view of things. In the Islamic culture, on the other hand, the symbolism and function of the Islamic mashrabiya<\/em> creates a potential for imagination to move in more abstract spheres. Geometrical light forms in the negative of a tree facilitate the passage of light, thus shaping it into a geometrical, symmetrically harmonised mosaic.<\/a>[193<\/strong><\/span>]<\/sup><\/a> In addition to the awakening of imagination, there is also the function of letting in air, which can also be symbolically understood in terms of the airiness of space, facilitating rhythmical breathing that is essential for meditation, which may be stimulated by such ambient. Such a meditative moment in the Islamic culture can be achieved in a private home, whereas in the Western culture this may be possible in Christian cathedrals, churches and chapels, as an effect of monumental architecture and stained-glass windows. Stained-glass windows in cathedrals and churches also enter into a dialogue with light, but in terms of illumination, reviving the colours and contours in the picture of a stained-glass window. It is only when light reaches the walls or the floor that one can see the opaque marks of pictures on stained-glass windows, which then release imagination and lead to a meditative state by reducing the possibility of rational understanding. <\/p>\n

        The different pictures of the world, of various cultures, create symbolic forms, each of which in its own way places man in an active position. In the Western context, according to Belting, this can be ‘curiosity looking for pictures in the world’, while in the Islamic world, mashrabiya<\/em> purifies the view from the outside pictures by the geometry of light forms. <\/p>\n

        Belting concludes that it is only with a historical distance that we see the function, the project of the symbolic form of a culture. The meaning of the picture is to speak to the view, but not4 necessarily to depict views. If the view was depicted, the spectator would have a mirror effect. The symbolic places in the form of mirrors and windows were worldviews. These symbolic forms are culturally codified and gave the West ‘an incentive to control the world by its own view’.<\/a>[194<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Consciousness creates an image of the world by perceptions, but there is a difference between the one that the subject intimately presents to itself and the one it represents to the outside world in the form of a public picture. Public pictures can also become our own, they can be and very often are a means of manipulation of various interests. The world is today created by the pictures of various personal interests. Depending on what consciousness notices, an idea is formed about that, and depending on the position of power and interest, this idea may be manipulated and, in the form of the picture, fill our own world, the world of someone else or the common world. <\/p>\n

        The Western perspective is a symbolic form of the view, but not the space, which, according to Cassirer and Belting, needs to be created every time all over again. Creating from scratch and constant activity in terms of poiesis<\/em> put man in an active relation with the world. Through a full experience of the world, using the body and all other perceptory tools in a constant dialogue with this world, consciousness is brought to the state of awakeness. In the state of awakeness, consciousness will create symbolic forms as ideas of the being in an active relation with the world, the universe. <\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[154<\/strong><\/span>]<\/sup><\/a> 
        \n‘\u2026universe (as this word means nothing else but a reversal of unity)’, F.W.J. Schelling, Filozofija mitologije <\/em>[The Phylosophy of of Mythology], Vol. I, <\/em>Demetra, Zagreb, 1997, p.76.<\/p>\n

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

        \n

        <\/a>[155<\/strong><\/span>]<\/sup><\/a> 
        \nIn his lectures Schelling refers to the objectivity of mythology that is substantially different from religious or scientific systems, Filozofija mitologije<\/em>, Vol. I, Demetra<\/em>, Zagreb, 1997.<\/p>\n

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

        \n

        <\/a>[156<\/strong><\/span>]<\/sup><\/a> 
        \nSchelling understands god as the spirit ‘which can be or cannot be, which can be externalised or not externalised.’, Filozofija mitologije<\/em>, Volume I, <\/em>Demetra, Zagreb, 1997, p. 28.<\/p>\n

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

        \n

        <\/a>[157<\/strong><\/span>]<\/sup><\/a> 
        \nCausa causarum, the cause of the causses, is a Pythagorean term for god. F.W.J. Schelling, Filozofija mitologije<\/em>, Demetra, Zagreb, 1997, p. 95.<\/p>\n

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

        \n

        <\/a>[158<\/strong><\/span>]<\/sup><\/a> 
        \nF.W.J. Schelling, Filozofija mitologije, <\/em>Demetra, Zagreb, 1997.<\/p>\n

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

        \n

        <\/a>[159<\/strong><\/span>]<\/sup><\/a> 
        \n‘…Persephone is nothing else but a possibility to be different, which has not yet shown itself to the will and is not even aware of itself as the opposite, that is, female \u2013 while it is potency in the state of self-unawareness, it is, as is usually put, in the state of innocence, as the male and the female are not separated (they are indistinguishable). The innocence that does not know anything about sexual duality is virginity \u2013 virginity is not specifically feminine (on the contrary, it can be attributed to the male gender, too), but denotes sexual indecisiveness.’ F.W.J. Schelling,\u00a0 Filozofija mitologije<\/em>, Volume II<\/em>, Demetra, Zagreb, 1997, p. 131. <\/p>\n

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

        \n

        <\/a>[160<\/strong><\/span>]<\/sup><\/a> 
        \n‘However, even if we suppose that this personification could have accidentally started from the sky, whether by representing as gods the celestial bodies or forces that move and impel them, there would be no stopping there.’ Druga knjiga: Mitologija, F.W.J. Schelling,\u00a0 Filozofija mitologije<\/em>, Demetra, Zagreb, 1997, p.157.<\/p>\n

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

        \n

        <\/a>[161<\/strong><\/span>]<\/sup><\/a> 
        \nSchelling cites Herodotus who sees that which is not yet mythological in the Persians’ religion and says: ‘\u2026at mountain peaks they make sacrifices to the celestial revolution, without any knowledge of temples, altars, images of gods and, in general, god sin a human way\u2026’\u00a0 Druga knjiga: Mitologija, F.W.J. Schelling,\u00a0 Filozofija mitologije<\/em>, Demetra, Zagreb, 1997, p.167.<\/p>\n

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

        \n

        <\/a>[162<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika<\/em>, Jezik<\/em> [The Philosophy of Symbolic Forms:Language],<\/em> Volume I<\/em>, Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 63.<\/p>\n

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

        \n

        <\/a>[163<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika<\/em>, Jezik<\/em> , I dio<\/em>, Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 64. <\/p>\n

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

        \n

        <\/a>[164<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika, Jezik<\/em> , I dio,<\/em> Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 66.<\/p>\n

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

        \n

        <\/a>[165<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika, Mitsko mi\u0161ljenje<\/em> , II dio,<\/em> Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 155.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[166<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika, Mitsko mi\u0161ljenje<\/em> , II dio,<\/em> Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 161.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[167<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika, Mitsko mi\u0161ljenje<\/em> , II dio,<\/em> Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 168.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[168<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika<\/em>, Mitsko mi\u0161ljenje<\/em> , II dio,<\/em>\u00a0 Dnevnik, Knji\u017eevna zajednica Novog sada, Novi Sad, 1985, p. 168.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[169<\/strong><\/span>]<\/sup><\/a> 
        \nErnst Cassirer, Filozofija simboli\u010dkih oblika<\/em>, Mitsko mi\u0161ljenje<\/em> , II dio,<\/em> Dnevnik,\u00a0 Knji\u017eevna zajednica Novog Sada, Novi Sad, 1985, p. 171.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[170<\/strong><\/span>]<\/sup><\/a> 
        \n‘Art \u2013 this is now a mere word to which nothing real corresponds any longer.’, Martin Heidegger, Izvor umjetni\u010dkog djela<\/em> (The Origin of the Work of Art)<\/em>, AGM, Zagreb, 2010, p. 9.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[171<\/strong><\/span>]<\/sup><\/a> 
        \nHeidegger explains: ‘\u2026the Greek fundamental experience of the essence of the being in terms of presence’, Martin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 21.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[172<\/strong><\/span>]<\/sup><\/a> 
        \n‘The unconcealedness of the being was termed aletheia<\/em> by the Greeks.’, Martin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 49.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[173<\/strong><\/span>]<\/sup><\/a> 
        \nMartin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 49.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[174<\/strong><\/span>]<\/sup><\/a> 
        \n‘The world is always that which is non-objective, to which we are subjected as long as the path of the birth and death, blessing and curse keeps us removed in essence. If the world is opened, all thing obtain their moment of delay and urgency, their distance and closeness, their width and tightness.’ Martin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 67.<\/p>\n

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

        \n

        <\/a>[175<\/strong><\/span>]<\/sup><\/a> 
        \n‘Beauty is a way for truth to exist as unconcealedness.’, Martin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 91.<\/p>\n

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

        \n

        <\/a>[176<\/strong><\/span>]<\/sup><\/a> 
        \nMartin Heidegger, Izvor umjetni\u010dkog djela<\/em>, AGM, Zagreb, 2010, p. 125.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[177<\/strong><\/span>]<\/sup><\/a> 
        \nAlois Halder, Umjetnost i kult [Art and Cult]<\/em>, AGM, Zagreb, 2011, p. 71.<\/p>\n

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

        \n

        <\/a>[178<\/strong><\/span>]<\/sup><\/a> 
        \n‘\u2026 and only with regard to how and why esthetics and the philosophy of art at the turn of the 19th and the 20th centuries addressed the issue of the relationship between art and cult.’, Alois Halder, Umjetnost i kult<\/em>, AGM, Zagreb, 2011, p. 74.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[179<\/strong><\/span>]<\/sup><\/a> 
        \nAlois Halder, Umjetnost i kult<\/em>, AGM, Zagreb, 2011, p. 76.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[180<\/strong><\/span>]<\/sup><\/a> 
        \nAlois Halder, Umjetnost i kult<\/em>, AGM, Zagreb, 2011, p. 124.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[181<\/strong><\/span>]<\/sup><\/a> 
        \nAlois Halder, Umjetnost i kult,<\/em> AGM, Zagreb, 2011, p. 131.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[182<\/strong><\/span>]<\/sup><\/a> 
        \nAlois Halder, Umjetnost i kult,<\/em> AGM, Zagreb, 2011, p.. 132.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[183<\/strong><\/span>]<\/sup><\/a> 
        \nRoland Barthes, Mitologije [Mythologies],<\/em> Naklada Pelago, Zagreb, 2009, p. 149.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[184<\/strong><\/span>]<\/sup><\/a> 
        \n‘Mythical statement is a message. It is therefore by no means confined to oral speech. It can consist of modes of writing or of representations; not only written discourse, but also photography, cinema, reporting, sport, shows, publicity, all these can serve as a support to mythical speech.’, Roland Barthes, Mitologije,<\/em> Naklada Pelago, Zagreb, 2009, p. 143.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[185<\/strong><\/span>]<\/sup><\/a> 
        \nBarthes offers the example of the concept of a tree, saying that it is vague and lends itself to multiple contingencies.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[186<\/strong><\/span>]<\/sup><\/a> 
        \n‘If our society is objectively the privileged field of mythical significations, it is because formally myth is the most appropriate instrument for the ideological inversion which defines this society: at all the levels of human communication, myth operates the inversion of anti-physis<\/em> into pseudo-physis<\/em>. What the world supplies to myth is an historical reality, defined, even if this goes back quite a while, by the way in which men have produced or used it; and what myth gives in return is a natural image of this reality.’ Roland Barthes, Mitologije<\/em>, Zagreb, 2009. Naklada Pelago, Zagreb, 2009, p. 168.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[187<\/strong><\/span>]<\/sup><\/a> 
        \nRoland Barthes, Mitologije<\/em>, Naklada Pelago, Zagreb, 2009, p. 168.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[188<\/strong><\/span>]<\/sup><\/a> 
        \nRoland Barthes, Mitologije<\/em>, Naklada Pelago, Zagreb, 2009, p. 169.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[189<\/strong><\/span>]<\/sup><\/a> 
        \n‘This is not only about the breakup of the until recently existing world of metaphysics. The focus is, on the contrary, on the disintegration of its categories in the process of technogenesis of new worlds. The transformation of the subject into the project causes the whole contemporary history to develop in the sign of projecting the world as a technical matrix. All the stated components of the conceptual framework of completing the essence of contemporary technique denote, therefore, a transfer from the analogous to the digital era. The force, power and rule of the non-material event of ‘essence’ and ‘time’ as experience (of the subject as a project) and illusion (of reality as virtuality) now define events in the so-called real life \u2026 This is, on the contrary, about the immanence of posthuman control of the system over its systems.’ \u017darko Pai\u0107, Tre\u0107a zemlja (The Third Country)<\/em>, Litteris, Zagreb, 2014, p. 19.<\/p>\n

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

        \n

        <\/a>[190<\/strong><\/span>]<\/sup><\/a> 
        \n“..the perspective painting already put forward a requirement that perception be reflected or copied. The iconic view created by perspective is not the view-icon, but the view that became the picture.’ Hans Belting, Firenza i Bagdad: Zapadno-isto\u010dna povijest pogleda[Florence and Baghdad: The Western-Eastern History of the View],<\/em> Fraktura, Zagreb, 2010, p. 22.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[191<\/strong><\/span>]<\/sup><\/a> 
        \n‘A picture in perspective, paradoxically, depicts a three-dimensional space on the surface that does not exist in nature. However, that space cannot be separated and placed above the view, because it i sin our case the function of the view and not the other way round. The space in perspective is created only in the view and for the view, since it exists only on the surface, which is originally not a space and has no space. Our view sees the physical and spatial, but the perspective symbolises it two-dimensionally, using the screen as a symbol.’ Hans Belting, Firenza i Bagdad”: Zapadno-isto\u010dna povijest pogleda<\/em>, Fraktura, Zagreb, 2010, p. 23.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[192<\/strong><\/span>]<\/sup><\/a> 
        \n‘The reflection and narcissism are connected, because narcissism is realised in the view. The reflection will create a distance and the realisation that man cannot see himself the way others see him. We cannot see ourselves in our own bodies, but only in the mirror’.- Hans Belting, Firenza i Bagdad: Zapadno-isto\u010dna povijest pogleda,<\/em> Fraktura, Zagreb, 2010, p. 235.<\/p>\n

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

        \n

        <\/a>[193<\/strong><\/span>]<\/sup><\/a> 
        \n‘This is a stage for the “scenography of light”, a favourite discussion point. The scenography of light has a special meaning here. Light as a cosmic force “comes into light“, when in the rhythm of seasonal changes it starts to move in the inner space.’ Hans Belting, Firenza i Bagdad: Zapadno-isto\u010dna povijest pogleda, Fraktura, Zagreb, 2010, p. 261.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[194<\/strong><\/span>]<\/sup><\/a> 
        \nHans Belting, Firenza i Bagdad, Zapadno-isto\u010dna povijest pogleda<\/em>, Fraktura, Zagreb, 2010, p. 265.<\/p>\n

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

         <\/p>\n

        Filozofijski pogled na problem
        \nsimboli\u010dke forme<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n


        \n\u010cak i ako je opipljiv simbol spada u domenu slike jer ga do\u017eivljavamo vidom. Upravo je ta prvotna domena karika koja upotpunjuje komunikaciju jer, ipak, prije jezika postojala je slika koju nam je omogu\u0107io organ vida, oko. Prvo smo gledali, a tek kasnije usvojili jezik \u0161to dokazuje analogiju povezanosti tih dviju komunikacijskih formi. Ono \u0161to jezikom ne mo\u017eemo izre\u0107i, slikom nastojimo do\u010darati. Taj komunikacijski problem svaka je kultura nadopunjavala simbolom koji je nastojao dotaknuti sveto, neizrecivo. Na prvi pogled ponekad razli\u010ditom formom, ali zajedni\u010dkom biti. <\/em><\/p>\n

              <\/span><\/p>\n


        \nTijek razvoja simboli\u010dke forme, \u0161to je ona predstavljala te kako se \u010dovjek njome slu\u017eio nekada i kako se slu\u017ei sada, nastoji se prikazati kroz mi\u0161ljenja i istra\u017eivanja pojedinih autora koji su se bavili problemom simboli\u010dke forme. <\/em><\/p>\n

              <\/span><\/p>\n


        \nTo je ujedno i uvodni dio doktorskog rada \u201eSkulptura kao simboli\u010dka forma u umjetni\u010dko-ritualnom \u010dinu – Spona\u201c koji je nastojao dokazati univerzalnost individualnog kreativnog procesa kao forme koja \u010dovjeku omogu\u0107uje samospoznaju.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> simbol, simboli\u010dka forma, komunikacija, komunikacijska forma, forma, filozofijski pogled.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#6 2022<\/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

        DOI 10.46640\/imr.11.20.6<\/a>
        \n UDK 005.582:808
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 12.2.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Dario Terzi\u0107<\/span><\/p>\n

        Visoka \u0161kola za turizam i menad\u017ement, Konjic, Bosna i Hercegovina
        \ndariobrel@yahoo.com<\/p>\n

        Zamaskirani jezik mr\u017enje – provokativni i zapaljivi naslovi<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (504 KB), Hrvatski, Str. 3331 – 3342
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n


        \nJezik sam po sebi nije savr\u0161eno sredstvo komunikacije, pa \u010desto zna\u010denje koje rije\u010dima pridaje onaj tko ih je izgovorio ili napisao nije istovjetno s mno\u0161tvom zna\u010denja koja rije\u010dima daju oni koji ih slu\u0161aju ili \u010ditaju. Rije\u010dima nije te\u0161ko manipulirati.<\/em><\/p>\n

              <\/span><\/p>\n


        \nGovor mr\u017enje obuhva\u0107a izjave koje zastra\u0161uju, uznemiravaju pojedince i grupe ali i izjave koje pozivaju na nasilje, mr\u017enju te na diskriminaciju pojedinca ili grupa. <\/p>\n

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

              <\/span><\/p>\n


        \nRazlozi za mr\u017enju i diskriminaciju su uglavnom: rasa, vjera, spol ili seksualna orijentacija.<\/p>\n

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

              <\/span><\/p>\n


        \nGovor mr\u017enje postaje jo\u0161 kompleksniji ako se zna da on uop\u0107e i ne mora po\u010divati na la\u017eima i uvredama. Na pomolu je estetizacija mr\u017enje, maskiranje jezika mr\u017enje kroz provokativne, intrigantne pa nerijetko i zapaljive sadr\u017eaje. Kako bi privukli pa\u017enju, novinari upotrebljavaju i naslove koji danas, u eri online medija mogu izazvati vrlo zlonamjerne komentare na forumima, pa tako stvoriti negativno i neprijateljsko ozra\u010dje.
        \n<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> jezik mr\u017enje, estetizacija mr\u017enje, novinski naslovi, hu\u0161ka\u010dka retorika, manipulacija.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        Uvod<\/strong><\/p>\n

        O jeziku mr\u017enje se intenzivnije po\u010delo razgovarati i raspravljati posljednjih desetak godina, pogotovo otkako je u ekspanziji komuniciranje na dru\u0161tvenim mre\u017eama. Jezik mr\u017enje se nekima doima univerzalnim, ali mo\u017eemo ustvrditi da se pojedina „pravila igre“ mijenjaju u ovisnosti o dr\u017eavnim, kulturnim, sociolo\u0161kim i inim faktorima. U tim novonastalim okolnostima univerzalni jezik mr\u017enje, mo\u017eemo re\u0107i, dobiva svoje dijalekte. Kako bi se izbjeglo sve ono manifestno i na prvu loptu uvredljivo, jezik mr\u017enje biva na\u0161minkan, zamaskiran. Kakav je to zamaskirani jezik mr\u017enje a \u0161to je jezik mr\u017enje uop\u0107e? Na koji na\u010din se putem tradicionalnih a posebno putem suvremenih medija prenose poruke koje \u0161ire mr\u017enju, netrpeljivost? Koliko je pitanje govora mr\u017enje sociolo\u0161ko odnosno filozofsko a koliko je ono uistinu pitanje legislative? Mo\u017eemo li samo vjerovati u hermeneuti\u010dke principe ili je neophodno razviti mehanizme kojima se jezik mr\u017enje mo\u017ee sankcionirati a da istovremeno ne povrijedimo slobodu izra\u017eavanja? Suvremeni liberalni pristupi obuhva\u0107aju dva idealno-tipi\u010dna modela: SAD dozvoljavaju govor mr\u017enje skoro apsolutno, europsko i me\u0111unarodno pravo ga u brojnim slu\u010dajevima zabranjuju i ka\u017enjavaju (Beham, 2004:155). Neki kriti\u010dari isti\u010du da se izraz govor mr\u017enje koristi kako bi se u\u0161utkali kriti\u010dari socijalnih politika koje su lo\u0161e provedene.<\/p>\n

        U dana\u0161njem instant svijetu sve je postalo too fast<\/em>, prebrzo se izmjenjuju informacije. Ljudi nemaju vremena ili jednostavno ne \u017eele pro\u010ditati du\u017ei tekst ili informaciju koju je potrebno pa\u017eljivo pregledati. Sve se \u017eeli takore\u0107i na prvu, pa i dana\u0161nje novinarstvo „hvata \u017ertve“ na prvi pogled, odnosno kroz naslove. I prije su naslovi bili presudni, imali funkciju da skrenu pa\u017enju, ali su morali biti korektni, odgovarati sadr\u017eaju teksta i po\u0161tovati neke najosnovnije profesionalne i eti\u010dke standarde. Danas ti naslovi \u010desto nemaju velike veze s tekstom, s onim \u0161to u tekstu pi\u0161e. Bitno je privu\u0107i pozornost, isprovocirati. Izazvati reakciju na forumima. Jer, kako tvrde pojedini urednici portala, o broju lajkova<\/em> i broju komentara im ovisi i to ho\u0107e li netko otkupiti njihov reklamni prostor. Provokacija \u010desto ide dalje od onoga \u0161to bi trebao biti dobar ukus – izvan granica objektivnog informiranja. Bitna su op\u0107a mjesta, ono prepoznatljivo, \u0161to nas na neki na\u010din tangira, pa se zbog toga \u010desto pribjegava upotrebi stereotipa. Od stereotipa do predrasude tek je jedan korak. <\/p>\n

        Nerijetko u naslovu nekog teksta ne nalazimo imena pojedinaca, njihove funkcije ili titule nego prije svega njihovu nacionalnost i to u negativnom kontekstu. Neki od tih naslova na koje samo nai\u0161li u ovom istra\u017eivanju su:<\/strong><\/p>\n

        „Bosanci krali milodare iz najpoznatijih rimskih crkvi“<\/a>[195<\/strong><\/span>]<\/sup><\/a>, „Austrija: Bosanci krali traktore i prodavali ih na internetu”<\/a>[196<\/strong><\/span>]<\/sup><\/a>, „Bosanci krali po \u0160irokom Brijegu” <\/a>[197<\/strong><\/span>]<\/sup><\/a>, „Bosanci pali u Herceg Novom: Krali bicikla, televizore ,motore”<\/a>[198<\/strong><\/span>]<\/sup><\/a>, „Bosanci krali grudnjake po Njema\u010dkoj”<\/a>[199<\/strong><\/span>]<\/sup><\/a>. <\/p>\n

        Razvojem internet komunikacije i slobodnim pristupom rasisti\u010dkim sajtovima debata u vezi govora mr\u017enje dobiva nove dimenzije. Anglosaksonski pristup slobodi govora je prema nekim istra\u017eivanjima omogu\u0107io i \u010dinjenicu da u SAD postoji vi\u0161e od hiljadu tzv. “patriotskih” grupa ekstremne desnice koje posjeduju radio stanice i otvoreno \u0161ire mr\u017enju prema svemu \u0161to po njihovom mi\u0161ljenju ugro\u017eava zdrav svijet bijelaca, a to su: crnci, \u017didovi, homoseksualci itd. Posredna stigmatizacija stranaca kada se u novinskim (ili policijskim) izvje\u0161tajima o krivi\u010dnim prestupima navodi nacionalno porijeklo vinovnika prihvatljiva je. Takvi i sli\u010dni postupci jasno su usmjereni protiv manjina i mogu intenzivirati postoje\u0107e negativne stereotipe o njima. <\/p>\n

        U liberalnim demokracijama sloboda govora i izra\u017eavanja mi\u0161ljenja su ustavno utvr\u0111eni kao osnovno pravo koje po \u010dlanu 19. predvi\u0111a i Deklaracija o ljudskim pravima Ujedinjenih nacija iz 1948. godine. Ve\u0107ina demokratskih zemalja, me\u0111utim, to osnovno pravo ograni\u010dava propisima krivi\u010dnog zakona o (rasnoj, vjerskoj, nacionalnoj, spolnoj) diskriminaciji<\/a>[200<\/strong><\/span>]<\/sup><\/a>, uvredi i kleveti i obavezama koje proisti\u010du iz me\u0111unarodnog prava, kao npr. iz Europske konvencije o za\u0161titi ljudskih prava iz 1950. godine koja u istom \u010dlanu 10 definira slobodu izra\u017eavanja mi\u0161ljenja, ali i njena ograni\u010denja, jer “upra\u017enjavanje tih sloboda donosi sa sobom obaveze i odgovornost”.<\/p>\n

        U ameri\u010dkom pravnom sistemu govor mr\u017enje je sastavni dio slobode izra\u017eavanja te se govoru koji vrije\u0111a treba odgovoriti protiv-govorom, a ne dr\u017eavnim regulacijama. Nasuprot tome neke druge zemlje kao npr. Kanada i \u010dlanice Vije\u0107a Europe, u govoru mr\u017enje vide vi\u0161e mr\u017enju nego govor te slobodi govora ne daju prioritet u odnosu na druge vrijednosti kao \u0161to su: dostojanstvo, \u010dast, jednakost, civilnost, javni mir.<\/p>\n

         <\/strong><\/p>\n

        Jezik mr\u017enje-od tradicionalnih medija do novih tehnologija<\/strong><\/p>\n

        Jezik sam po sebi nije savr\u0161eno sredstvo komunikacije, tako da se, gotovo po pravilu, de\u0161ava da zna\u010denje koje rije\u010dima pridaje onaj tko ih je izgovorio ili napisao nije istovjetno s mno\u0161tvom zna\u010denja koja rije\u010dima daju oni koji ih slu\u0161aju ili \u010ditaju. Rije\u010dima nije te\u0161ko manipulirati (\u017divkovi\u0107, 2004:32).<\/p>\n

        Ljudi namjerno izjavljuju rije\u010di koje nekom drugom mogu \u0161koditi. I takve izjave su obuhva\u0107ene slobodom izra\u017eavanja mi\u0161ljenja. Me\u0111utim, kao i svaka druga sloboda, i sloboda izra\u017eavanja mi\u0161ljenja je ograni\u010dena pravima i slobodama drugih, kao i odre\u0111enim interesima zajednice.<\/p>\n

        Gdje je nestala odgovornost za javnu rije\u010d, odgovornost uop\u0107e?\u00a0 <\/p>\n

        Mnoge diskusije u vezi odgovorno\u0161\u0107u po\u010dinju upravo od pojma slobode.<\/p>\n

        Sloboda izra\u017eavanja mi\u0161ljena jedan je od su\u0161tinskih temelja liberalizma i suvremene pravne dr\u017eave. Pojam „govor mr\u017enje“ (Beham, 2004:153) podrazumijeva oblik govora, a u liberalnim dr\u017eavama govor je generalno za\u0161ti\u0107en. Otud je i pravni i dru\u0161tveni tretman agresivnog govora predmet znanstvenih pravnih i politi\u010dkih sporova u kojima se sukobljavaju principi slobode i tolerancije s jedne i suzbijanje mr\u017enje izme\u0111u grupa i pojedinaca s druge strane. <\/p>\n

        Sam pojam „govor mr\u017enje“ preuzet je iz engleskog jezika-hate speach. U Websterovom rje\u010dniku ova je sintagma vezana uz pojam Hate-monger<\/em>, \u010dovjek koji rasplamsava mr\u017enju, neprijateljstvo ili predrasude o drugima.<\/p>\n

        Govor mr\u017enje obuhva\u0107a izjave koje zastra\u0161uju, uznemiravaju pojedince ili grupe ili izjave koje pozivaju na nasilje, mr\u017enju, ili diskriminaciju pojedinca ili grupa. <\/p>\n

        Razlozi za mr\u017enju i diskriminaciju su uglavnom: rasa, vjera, spol ili seksualna orijentacija. Fenomenolo\u0161ki, pak, govor mr\u017enje se sastoji od predrasuda i stereotipa.<\/p>\n

        Na Balkanu je tako\u0111er stvorena atmosfera u kojoj su “drugi” krivi za na\u0161u nesre\u0107u, a odnos prema njima se definirao historijski, ekonomski, vjerski i nacionalno (Beham, 2004:157). Pod takvim pretpostavkama mogao je npr. i obi\u010dan nacionalni historijski osvrt objavljen u novinama, ili samo isticanje nacionalne pripadnosti, biti interpretirano kao uvredljivo, \u010dak kao govor mr\u017enje.<\/p>\n

        Odre\u0111ene smjernice za definiranje govora mr\u017enje mogu se na\u0107i u Preporuci Vije\u0107a Evrope R (97) 20 o „govoru mr\u017enje”,<\/em> u kojoj se navodi da je to izraz: „ koji pokriva sve oblike izra\u017eavanja koji \u0161ire, podsti\u010du, promoviraju ili opravdavaju rasnu mr\u017enju, ksenofobiju, antisemitizam ili druge oblike mr\u017enje zasnovane na netoleranciji, uklju\u010duju\u0107i netoleranciju iskazanu kroz agresivni nacionalizam i etnocentrizam, diskriminaciju i netrpeljivost protiv manjina, migranata i osoba imigrantskog porijekla“.<\/a>[201<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Iako zdrav razum ka\u017ee da je neprihvatljivo \u0161iriti mr\u017enju koja dovodi do nasilja, ne postoje kriteriji kojima se mo\u017ee to\u010dno odrediti moment kada govor postaje akcija, jer to zavisi od mnogobrojnih dru\u0161tvenih, kulturnih, politi\u010dkih, ideolo\u0161kih, psiholo\u0161kih i sociolo\u0161kih faktora (osim u slu\u010daju, koji je ka\u017enjiv i u Americi pod terminom fighting words<\/em>, kada neko javno poziva na nasilje i to nasilje se izvr\u0161ava ve\u0107 u sljede\u0107em trenutku). Demokracija nije stanje nego proces, proces u kome se stanje mijenja kroz stalni javni dru\u0161tveni diskurs i razmjenu mi\u0161ljenja. Ta sloboda razlikuje demokraciju od totalitarnih sistema i u njenoj obrani neophodno je neumorno postavljati kriti\u010dka pitanja kako bi se sa\u010duvale osnovne demokratske vrijednosti i prava. Negdje izme\u0111u tih koordinata nalazi se i pitanje govora mr\u017enje (Beham, 2005:166). <\/p>\n

        Govor mr\u017enje postaje jo\u0161 kompleksniji ako se zna da on uop\u0107e i ne mora po\u010divati na la\u017eima. Dapa\u010de, on se mo\u017ee temeljiti na \u010dinjenicama, ali mediji te \u010dinjenice prezentiraju, elaboriraju i kontekstualiziraju tako da one proizvode ideolo\u0161ke matrice pomo\u0107u kojih se \u0161iri mr\u017enja kao sistem vrijednosti, kao moralni surogat za proces koji upravo eliminira – moralne dileme i pitanja. Naime, kako je upozorila Nade\u017eda \u010ca\u010dinovi\u0107 (Obradovi\u0107, 2001:3) jedna od osnova na kojima po\u010diva i funkcionira govor mr\u017enje jeste estetizacija mr\u017enje. Dakle, stvaranje situacije, pripremanje atmosfere u kojoj nasilje, mr\u017enja, pa i sam zlo\u010din mogu funkcionirati kao „normalna stvar“. Estetizacija mr\u017enje ru\u0161i ona moralna pitanja, kriterije i dileme koji bi ina\u010de bili blokada za nasilje. Procesom estetizacije „uvje\u017ebava“ se odgovaraju\u0107i (reduciran) moralni senzibilitet, odnosno suspendira se moralna dimenzija. <\/p>\n

        Govor mr\u017enje je upravo \u010desto „zamaskiran“. Te\u017ee ga je prepoznati – mijenja boju (formu, retoriku, sadr\u017eaje, naglaske, ciljeve), ali i dalje djeluje. Pri tome nisu uvijek bitni i najopasniji ekstremisti, jer najekstremniji mediji u pravilu i nemaju utjecaja na \u0161iru publiku, ve\u0107 su ograni\u010deni na uske krugove istomi\u0161ljenika (\u017ealosno je jedino \u0161to je i publika kvalitetnih i kriti\u010dnih medija jednako malena). Novogovor mr\u017enje, novo ozra\u010dje netrpeljivosti u kojem se supstituiraju i reduciraju moralni kriteriji \u0161iri se stalnim obnavljanjem mr\u017enje kroz humoristi\u010dki govor, npr. u emisijama \u010dijim recipijentima je sni\u017een prag kriti\u010dnosti; dakle ne kroz politi\u010dke emisije, ve\u0107 kroz zabavne, sportske i sli\u010dne sadr\u017eaje.<\/p>\n

        Ukoliko analiziramo \u0161irenje poruka kroz teoriju dvostupanjskog komuniciranja to se \u010desto reflektira kroz poruke politi\u010dara, pogotovo ako oni poku\u0161avaju biti duhoviti. Tako \u0107e hrvatski predsjednik Milanovi\u0107 re\u0107i za Bosnu i Hercegovinu da je \u0161it<\/em><\/a>[202<\/strong><\/span>]<\/sup><\/a>, da prvo ide sapun pa onda parfem. Ne smijemo zaboraviti ni puno ozbiljnije komentare kao \u0161to su oni o genocidu u Srebrenici i sli\u010dno. Izjave ovakvog tipa se \u010desto pojave u naslovu nekog novinskog teksta. Mnogima su ovakve izjave politi\u010dara tek obi\u010dne \u0161ale dok \u0107e drugi ustvrditi da je rije\u010d o (ne)klasi\u010dnom govoru mr\u017enje. <\/p>\n

        Za ovako ne\u0161to pravo plodno tlo su upravo portali koji zloupotrebljavaju sve prednosti interneta kao meta medija, te ne slijede\u0107i logiku ve\u0107 ure\u0111enih dnevnih listova postaju mjesta gdje informacije bivaju umetnute bez ikakvog reda, kriterija; osloba\u0111aju\u0107i prostor upravo informacijama sa sni\u017eenim pragom kriti\u010dnosti.<\/p>\n

        Poseban i nov problem za (krivi\u010dno) gonjenje govora mr\u017enje i borbu protiv diskriminacije predstavlja upravo internet koji je komunikacione procese ubrzao, umno\u017eio i globalizirao.<\/p>\n

        Vije\u0107e Evrope je 2001. ratificiralo i amandman na Konvenciju o cyber-kriminalu koji stavlja govor mr\u017enje na internetu pod specijalnu kaznu. Amandman na konvenciju je izra\u0111en po uzoru nacionalnih i me\u0111unarodnih zakona o govoru mr\u017enje, prosto re\u010deno \u2013 \u0161to je zabranjeno offline, zabranjeno je i online. Portali su ti koji nerijetko pogor\u0161avaju konfliktnu komunikaciju u podijeljenim zajednicama kao \u0161to je npr. Mostar. U cilju ve\u0107e \u010ditanosti naj\u010de\u0161\u0107e se biraju doma\u0107e politi\u010dke teme ili zanimljivosti iz Svijeta koje se na bilo koji na\u010din mogu dovesti u vezu s mostarskom (podijeljenom) stvarno\u0161\u0107u. Islam je predstavljen uglavnom u negativnom svijetlu, pi\u0161e se o atentatima na katoli\u010dke bogomolje, ali „sasvim slu\u010dajno“ izostaju napisi o napadima na d\u017eamije. Obilje\u017eava se datum pogibije sasvim nepoznatoga hrvatskog bojnika (11.studeni), a taj isti dan ni jednom jedinom re\u010denicom se ne spominje godi\u0161njica ru\u0161enja Staroga Mosta. I uop\u0107e, kada je rije\u010d o godi\u0161njicama, pi\u0161e se o onima koji evociraju recentniju povijest hrvatskoga naroda (stradanja Hrvata u Grabovici, Srednjoj Bosni itd.) ili o li\u010dnostima \u010dija historija izaziva kontroverzne reakcije i provokacije (640 godina smrti Stevana Kotromani\u0107a, npr.)<\/p>\n

        Istovremeno bo\u0161nja\u010dki mediji, iako nisu ekspresivni niti maligni u kori\u0161tenju jezika mr\u017enje spram drugih zajednica, \u010desto ignoriraju aktivnosti tih zajednica ili jednostavno koriste neke \u010dinjenice, pravosudne presude i termine kao \u0161to su ha\u0161ki osu\u0111enik<\/em>, udru\u017eeni zlo\u010dina\u010dki poduhvat<\/em> i sli\u010dno, koji druga (hrvatska) strana smatra jezikom mr\u017enje.<\/p>\n

        Politi\u010dke teme su najpogodniji materijal za „osebujne i ma\u0161tovite“ komentare. U dana\u0161nje vrijeme svaki novinar ali i svaki gra\u0111anin mo\u017ee biti autor i vlasnik lista. Nove tehnologije su omogu\u0107ile jednu druga\u010diju novinu: multimedijalnu, hipertekstualnu, interaktivnu, personaliziranu, globalnu, a\u017euriranu na vrijeme, pokretnu i bez ograni\u010denja (Carlini, 2001:74).<\/p>\n

        \u010cesto su forumi na portalima prepuni hu\u0161ka\u010dke retorike. Glavno oru\u017eje u ovakvom prostoru postaje jezik mr\u017enje.<\/p>\n

        „Retori\u010dki mehanizmi eti\u010dkih kodeksa i kreda tako su nebulozni, zbrkani ,dvosmisleni, kontradiktorni ili pristrasni da je ono malo novinara \u0161to ih \u010dita zbunjeno, zapanjeno, bijesno i upla\u0161eno“- mi\u0161ljenja su Merill i Odell (1983:173).<\/p>\n

         <\/p>\n

        Manipulacija informacijama kroz provokativne naslove <\/strong><\/p>\n

        Portali u Mostaru uglavnom podsje\u0107aju \u010ditaoce na zlo\u010dine koji su po\u010dinjeni nad jednim narodom, a sasvim “slu\u010dajno” zaborave spomenuti zlo\u010dine koje je “na\u0161 narod”, po\u010dinio nad\u00a0 drugima.<\/p>\n

        Mostarski portali \u010desto slijede strategiju takozvane \u017eute \u0161tampe, te nalazimo naslove koji su ili provokativni ili \u010desto nemaju velike veze sa onim \u0161to je napisano u tekstu, nego im je cilj privu\u0107i pa\u017enju. Neki od naslova sa samog po\u010detka ovog istra\u017eivanja, zna\u010di prije vi\u0161e od deset godina, primjeri su kako se isticanjem ne\u010dije nacionalne pripadnosti u kontekst problemati\u010dan za cijelu jednu naciju, dr\u017eavu, u javnosti mo\u017ee stvoriti negativno mi\u0161ljenje; pogotovo ako su takvi tekstovi otvoreni za komentare koje administrator kasnije ne cenzurira, te se na forumu pojavljuje sijaset uvreda i psovki na ra\u010dun odre\u0111ene etni\u010dke zajednice.<\/p>\n

        Evo samo nekih o naslova: <\/p>\n

        “Bosanac uhap\u0161en zbog svirepog ubistva u Herceg Novom” <\/a>[203<\/strong><\/span>]<\/sup><\/a>, “Trojica Mladi\u0107a iz Bih izboli za\u0161titare u Makarskoj”<\/a>[204<\/strong><\/span>]<\/sup><\/a>, „Bosanci krali po Me\u0111ugorju”<\/a>[205<\/strong><\/span>]<\/sup><\/a>. <\/p>\n

        “Dok je slijetao helikopter sa Dodikom i Radmanovi\u0107em Saudijci snimali stablo vi\u0161nje”<\/a>[206<\/strong><\/span>]<\/sup><\/a>. Ovaj naslov izgleda bezazlen, ali od jedne banalne situacije ponovno do konflikta. Na forumima se odmah javljaju ma\u0161tovite ideje – to su ili predstavnici Al Qaede ili tamo neki mud\u017eahedini. Vrlo brzo, u pri\u010du se „uvla\u010de“ (uvijek u negativnom kontekstu) muslimani i islam, terorizam, pojmovi kao \u0161to su d\u017eamahirija itd. <\/p>\n

        Nakon \u0161to je federalna ministrica kulture poslala pismo napisano u dvije verzije latinicom i \u0107irilicom, s tim \u0161to latini\u010dna verzija vi\u0161e odgovara bosanskom nego hrvatskom standardu, pojavljuje se naslov: „Ministrica Ali\u0107 izbacila hrvatski jezik iz upotrebe“. Ovi novinski redovi kao da odmah provociraju, pozivaju na reakciju i sljede\u0107e komentare:<\/a>[207<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Maradar, jedan od \u010destih posjetilaca ovog foruma na Bljesku pi\u0161e: „Ko \u0107e pitati nju, efendiju Ceri\u0107a i onog malog pizdeka Nermina Dizdara i one sivonje.“<\/p>\n

        „To je bruka i sramota \u0161ta se radi hrvatskom narodu u ovoj prisilnoj tvorevini Federaciji BiH“-napisao je Tiki’s bar. Zanzibar dodaje: „Pri\u010dat \u0107emo srpski, ali Bosanski izri\u010daj NIKADA ne\u0107emo prihvatiti amen“. \u010citatelj Bljeska sa pseudonimom Stranac razmi\u0161lja ovako: -„Izmi\u0161ljene jezike i nacije ne prihva\u0107amo“. Njemu se pridru\u017euje Banaanajee.“Sla\u017eem se stranac kakav bola bosanski jezik i kakav bosanski j.e.be.ni narod.“ Sa uvredama nastavlja Kondor: -„Kako se ka\u017ee „KRME“ na bosanskom mislim tom novom jeziku kako ga nazivaju „bosanski“-ZZZZZZZZZZ dodaje: „Hrvatski jezik postoji, bosanski izmi\u0161ljen tek nedavno.“ <\/p>\n

        Ovo su komentari s\u00a0 portala Bljesak, prikupljeni na samom po\u010detku istra\u017eivanja. Ne\u0161to kasnije \u0107e isti portal zbog pritisaka javnosti zabraniti ovakav anonimni vid izno\u0161enja stavova te prije\u0107i na komentiranje putem Facebooka.<\/p>\n

        Zanimljiv je i naslov „Vrijeme je da plane mostarska Vije\u0107nica.“<\/a>[208<\/strong><\/span>]<\/sup><\/a> Ovaj tekst je napisan i objavljen 10 mjeseci prije nego \u0161to je mostarska Gradska vije\u0107nica zaista i zapaljena. <\/p>\n

        Gore spomenuti naslov privla\u010di pa\u017enju \u010ditatelja, jer se tog dana kada je prenesen, desila pucnjava i ru\u0161enje spomenika ispred te Vije\u0107nice. Agresivni su i izbor rije\u010di („plane“) kao i fotografija koja prati tekst. Me\u0111utim, iz teksta saznajemo da autor poziva na bunt protiv podjela u Mostaru. Tako mo\u017eemo razumjeti da je naslovom \u017eelio privu\u0107i pa\u017enju na tekst koji kritizira postoje\u0107u vlast u Mostaru, da kritizira neure\u0111eno dru\u0161tvo i podsje\u0107a na daleko bitniju podjelu u dru\u0161tvu od podjele na nacionalnoj osnovi, a to je podjela na bogate i siroma\u0161ne. Ipak poruka teksta (kada se on \u010ditav i\u0161\u010dita) i poruka naslova su najbla\u017ee re\u010deno opre\u010dni.<\/p>\n

        Pojedinim novinarima je ina\u010de imperativ u naslovu apostrofirati naciju ili spomenuti vjeru u negativnom izri\u010daju i uz to podsjetiti na doga\u0111aj koji s lokalnom zajednicom (naizgled) nema nikakve veze. Primjer za to je naslov: “Velika Britanija: Tri muslimanska zatvorenika poku\u0161ala da odsijeku glavu \u010duvaru zatvora.“<\/a>[209<\/strong><\/span>]<\/sup><\/a> Ovakvim je naslovom ponovno u okolnostima gdje jedna do druge \u017eive razli\u010dite etni\u010dke grupe, samo jedna vjera dovedena u apsolutno negativan kontekst.<\/p>\n

        Ve\u0107 smo spomenuli neke od naslova u kojima se u prvi plan isti\u010de nacionalna pripadnost po\u010dinioca nekog kaznenog djela. Imamo jo\u0161 podosta takvih primjera kao: <\/p>\n

        „Bosanac uhap\u0161en zbog svirepog ubistva u Herceg Novom”<\/a>[210<\/strong><\/span>]<\/sup><\/a>, “Na monstruozan na\u010din ubio bebu: Bosanac\u2026”<\/a>[211<\/strong><\/span>]<\/sup><\/a>; „Nakon \u0161to je ubio biv\u0161u \u017eenu \u0161ipkom, Bosanac…“<\/a>[212<\/strong><\/span>]<\/sup><\/a>, „Bosanac ubio \u017eenu u Njema\u010dkoj”<\/a>[213<\/strong><\/span>]<\/sup><\/a>, “Bosanac ubio biv\u0161u suprugu zbog veze s crncem”<\/a>[214<\/strong><\/span>]<\/sup><\/a>, „Bosanac ubio staricu u Belgiji”<\/a>[215<\/strong><\/span>]<\/sup><\/a>. \u010cudno je to da se u naslovu vijek isti\u010de Bosanac \u010dak ako je iz teksta vidljivo da je rije\u010d npr. o Srbima porijeklom iz Bosne i Hercegovine. Ovakve i sli\u010dne naslove objavljuju hrvatski mediji, srpski ali i bosanski.<\/p>\n

        Nisu svi tekstovi samo o Bosancima. Tako nailazimo na naslov: “Hrvat je ubio 25-godi\u0161njeg de\u010dka samo zato jer je bio Srbin”<\/a>[216<\/strong><\/span>]<\/sup><\/a>, “Hrvat ubio brata”<\/a>[217<\/strong><\/span>]<\/sup><\/a>, “Srbin ubio k\u0107erku”<\/a>[218<\/strong><\/span>]<\/sup><\/a>, „Hrvati krali aute po Be\u010du, ulovili ih s ure\u0111ajima za ometanje”<\/a>[219<\/strong><\/span>]<\/sup><\/a>, “Hercegovac golim rukama ubio medvjeda”<\/a>[220<\/strong><\/span>]<\/sup><\/a>, (simptomati\u010dno je kako pojam Hercegovac nalazimo samo u afirmiraju\u0107em da ne ka\u017eemo herojskom kontekstu. Nagla\u0161ava se da je heroj Hercegovac, ovog je puta izostavljena nacionalnost – Srbin). <\/u><\/a><\/p>\n

        Zamaskirani jezik mr\u017enje pojavljuje se u javnom prostoru i u druga\u010dijim kontekstima, ne isklju\u010divo u novinskim tekstovima. Poseban primjer za to su brojni grafiti kojima se veli\u010daju osu\u0111eni ratni zlo\u010dinci kao \u0161to su Ratko Mladi\u0107, Slobodan Praljak i drugi.<\/p>\n

        Nakon \u0161to je Valentin Inzko<\/a>[221<\/strong><\/span>]<\/sup><\/a>, Visoki predstavnik za Bosnu i Hercegovinu donio zakon kojim se zabranjuje negiranje genocida, u Republici srpskoj su osvanuli billboardi na kojima je \u0107irilicom ispisano NIJE BILO MI ZNAMO. To je eklatantan primjer estetiziranog ili bolje re\u010deno upravo zamaskiranog govora mr\u017enje, gdje nisu kori\u0161tene nikakve psovke, uvrede ili klevete ali je vrlo jasno kako se tu radi o nepriznavanju, odnosno, odobravanju genocida.<\/p>\n

        U nekim dijelovima Federacije BiH, to\u010dnije u onima gdje ve\u0107inu stanovni\u0161tva \u010dine Bo\u0161njaci (Bu\u017eim, Zenica) pojavili su se u vrijeme Bo\u017ei\u0107a billboardi koji u negativan kontekst stavljaju Djeda Mraza, jelke, obilje\u017eavanje Nove godine. <\/p>\n

        Sve je vi\u0161e poku\u0161aja da se o nekoj grupi etni\u010dkoj zajednici, ili bilo kome tko je „druga\u010diji“ ka\u017ee ili napi\u0161e ne\u0161to lo\u0161e, a da se pri tome izbjegnu sankcije koje se odnose na upotrebu jezika mr\u017enje. Zbog toga i jezik mr\u017enje vi\u0161e nije toliko manifestan i uo\u010dljiv nego je on „umotan“, u\u0161minkan, zamaskiran. Svejedno, on ipak poti\u010de na nerazumijevanje, netoleranciju, mr\u017enju. <\/p>\n

        Borba protiv jezika se mora voditi kako na hermeneuti\u010dkoj, odnosno filozofskoj razini tako i u domeni legislative.<\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[195<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/radiosarajevo.ba\/amp\/vijesti\/svijet\/koristili-neobican-alat-bosanci-krali-milodare-iz-najpoznatijih-rimskih-crkvi\/ 335603<\/a>, datum pristupna 13.1.2022.<\/p>\n

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

        \n

        <\/a>[196<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/hayat.ba\/bosanci-krali-traktore-u-austriji-pa-ih-prodavali-na-internetu\/259443\/,<\/a> 26.9.2020., datum pristupna 12.1. 2022. <\/p>\n

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

        \n

        <\/a>[197<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/www.bljesak.info\/vijesti\/crna-kronika\/bosanci-krali-po-sirokom-brijegu\/196159<\/a>, 28.4.2017., datum pristupa 12.1.2022. <\/p>\n

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

        \n

        <\/a>[198<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/avaz.ba\/vijesti\/crna-hronika\/582881\/bosanci-pali-u-herceg-novom-krali-bicikla-televizore-motore?fb_comment_id=3256388277772298_3257461684331624,20.7.2020<\/a>., datum pristupna 13.1. 2022.<\/p>\n

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

        \n

        <\/a>[199<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/www.bljesak.info\/lifestyle\/flash\/bosanci-po-njemackoj-krali-grudnjake\/209042<\/a>, 16.8.2017., datum pristupna 12.1. 2022. <\/p>\n

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

        \n

        <\/a>[200<\/strong><\/span>]<\/sup><\/a> 
        \nU BiH nema toliko uvreda na ra\u010dun homoseksualaca koliko npr. u Srbiji gdje postoji „jedinstven narodni korpus“. Na Facebooku su se jedno vrijeme mogle prona\u0107i i stranice: Svi pederi Srbije, Srbija bez pedera<\/em>.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[201<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/rm.coe.int\/medijske-regulatorne-agencije-i-govor-mrznje-bos-\/native\/1680a3351a<\/a>
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[202<\/strong><\/span>]<\/sup><\/a> 
        \nMilanovi\u0107 izjavljuje – Bosna uop\u0107e nije dr\u017eava to je „big shit“ 23.08.2016. na sastanku s predstavnicima branitelja te je u intervjuu za HRT 13.12. 2020 govore\u0107i o Bosni i Hercegovini istakao kako je „gra\u0111anska dr\u017eava daleki san i to je lijepa stvar ali prvo sapun pa onda parfem“.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[203<\/strong><\/span>]<\/sup><\/a> 
        \n\u010citaj.ba 20.9.2020.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[204<\/strong><\/span>]<\/sup><\/a> 
        \nHercegovina.info 7.7.2010.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[205<\/strong><\/span>]<\/sup><\/a> 
        \nBljesak, 12.1.2022.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[206<\/strong><\/span>]<\/sup><\/a> 
        \nBljesak 5.7.2010.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[207<\/strong><\/span>]<\/sup><\/a> 
        \nOvi izvori se vi\u0161e ne mogu prona\u0107i na internetu ali su zabilje\u017eeni u magistarskom radu Hu\u0161ka\u010dka retorka u on line izdanjima studija slu\u010daja Bljesak, 13.9. 2010., Dario Terzi\u0107, FPN 2011.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[208<\/strong><\/span>]<\/sup><\/a> 
        \n(Dnevno 04. 4.2013.)
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[209<\/strong><\/span>]<\/sup><\/a> 
        \nGlas srpske, 28.5.2013.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[210<\/strong><\/span>]<\/sup><\/a> 
        \n\u010citaj.ba (20.9.2020),
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[211<\/strong><\/span>]<\/sup><\/a> 
        \nHayat TV, 26.3.2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[212<\/strong><\/span>]<\/sup><\/a> 
        \nForum Krstarica, 30.8.2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[213<\/strong><\/span>]<\/sup><\/a> 
        \nMondo.ba 18.7.2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[214<\/strong><\/span>]<\/sup><\/a> 
        \nLivno on-line\u00a030.5.2016.<\/p>\n

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

        \n

        <\/a>[215<\/strong><\/span>]<\/sup><\/a> 
        \nKlix 14.10.2009.<\/p>\n

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

        \n

        <\/a>[216<\/strong><\/span>]<\/sup><\/a> 
        \nTelegram hr. 27.2. 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[217<\/strong><\/span>]<\/sup><\/a> 
        \nNet hr. 9.10.2020.<\/p>\n

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

        \n

        <\/a>[218<\/strong><\/span>]<\/sup><\/a> 
        \nAvaz, 18.9.2021.<\/p>\n

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

        \n

        <\/a>[219<\/strong><\/span>]<\/sup><\/a> 
        \nRTL 2.4.2014.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[220<\/strong><\/span>]<\/sup><\/a> 
        \n24 sata hr 25.5.2013.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[221<\/strong><\/span>]<\/sup><\/a> 
        \nNa samom kraju svog mandata Visoki predstavnik za BiH Valentin Inzko je 23.7.2021. donio odluku koja se odnosi na dopune Kaznenog zakona Bosne i Hercegovine kojima se zabranjuje i ka\u017enjava negiranje genocida.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[222<\/strong><\/span>]<\/sup><\/a> 
        \n        https:\/\/avaz.ba\/vijesti\/crna-hronika\/582881\/bosanci-pali-u-herceg-novom-krali-bicikla-televizore-motore?fb_comment_id=3256388277772298_3257461684331624<\/a>, datum pristupna 13.1. 2022.
        \n<\/span><\/p>\n<\/div>\n

         <\/p>\n

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

        Argyle, u Shields Rob- Kulture interneta<\/em> (85-112), Naklada Jasenski i Turk, Zagreb 2001.<\/p>\n

        Carelli, Emilio, Giornali e giornalismo nelle rete<\/em>, Apogeo, Milano 2004.<\/p>\n

        Champagne, Patrick, La vision mediatique u La Misere du monde<\/em>, Bourdieu P., Seuil, Paris 2007.<\/p>\n

        Davidson, K.P., Panebaker, I. W., Dickerson, S. S., Who talks? Sociaol psychology of illness support groups, American Psychologist<\/em> 55(2000), 205-217.<\/p>\n

        Hahue, Bary N., i Loader, Brian. D., Digital democraty<\/em> Taylor and Francis, London 1999.<\/p>\n

        Kurtz, Howard, The media circus The trouble with America’ s newpaper<\/em>, RandomHouse, New York 1993.<\/p>\n

        Meril, John. i Odel, Jack, Philosophy and journalism <\/em>With plans, New York 1983.<\/p>\n

        Obradovi\u0107, \u0110or\u0111e., O govoru mr\u017enje u medijima nakon rata<\/em>, Media On line, Zagreb 2020.<\/p>\n

        Peters, John Durham., Historical tensions\u00a0 in The concept\u00a0 of Public opinion<\/em>, Guilford, New York 1995.<\/p>\n

        Terzi\u0107, Dario, Mostar, una citta divisa tra futuro e imperativo<\/em> u Citta divise, Infinito, Roma 2005.<\/p>\n

        Terzi\u0107, Dario, Hu\u0161ka\u010dka retorika u on line izdanjima analiza slu\u010daja Bljesak,<\/em> FPN, Sarajevo 2011.<\/p>\n

        Terzi\u0107, Dario, Bro\u0161ura izgra\u0111ena\u00a0 okviru projekta „Unapre\u0111ivanje medijske pismensoti kroz analizu sadr\u017eaja online medija<\/em>“ Fakultet humansiti\u010dkih nauka, Mostar 2014.<\/p>\n

        \u00a0<\/p>\n

        Web izvori:<\/strong><\/p>\n

        belgija-poznati-detalji-zlocina-i-identitet-bosanca-koji-je-nozem-ubio-staricu; https:\/\/www.infomediabalkan.com\/<\/a> datum pristupa 11.1.2022. <\/p>\n

        bosanac-u-austriji-metalnom-sipkom-nasmrt-pretukao-bivsu-suprugu-policija-traga-za-njim\/ https:\/\/raport.ba\/<\/a> datum pristupa 11.1.2022. <\/p>\n

        bosanac-ubio-bivsu-suprugu-zbog-veze-s-crncem.758541\/ https:\/\/forum.krstarica.com\/threads\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        bosanci-krali-traktore-u-austriji-pa-ih-prodavali-na-internetu\/259443\/, https:\/\/hayat.ba\/<\/a> datum pristupna 12.1. 2022. <\/p>\n

        bosanci-krali-po-sirokom-brijegu\/196159 https:\/\/www.bljesak.info\/vijesti\/crna-kronika\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        bosanci-pali-u-herceg-novom-krali-bicikla-televizore- https:\/\/avaz.ba\/vijesti\/crna-hronika\/582881\/motore?fb_comment_id=3256388277772298_3257461684331624<\/a>, datum pristupna 13.1. 2022.<\/a>[222<\/strong><\/span>]<\/sup><\/a><\/p>\n

        bosanci-po-njemackoj-krali-grudnjake\/209042, https:\/\/www.bljesak.info\/lifestyle\/flash\/<\/a> datum pristupna 12.1. 2022. <\/p>\n

        cuvaru-htjeli-da-odsijeku-glavu\/120451, https:\/\/www.glassrpske.com\/lat\/novosti\/svijet\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        hercegovac-48-golim-rukama-ubio-medvjeda-koji-ga-je-napao-316549, https:\/\/www.24sata.hr\/news\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        Horor-u-Njemackoj-Bosanac-ubio-zenu-Pozvao-Hitnu-jer-mu-nije-bilo-dobro.html, https:\/\/mondo.ba\/info\/Svijet\/a974057\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        hrvat-je-ubio-25-godisnjeg-decka-samo-zato-jer-je-bio-srbin-nismo-ga-kaznili-sad-nam-sude-u-strasbourgu\/, https:\/\/www.telegram.hr\/politika-kriminal\/<\/a> datum pristupa 10.1.2022. <\/p>\n

        hrvat-u-njemackoj-macetom-ubio-brata-pokusao-ga-je-izvuci-iz-pakla-droge-1437178, https:\/\/www.vecernji.hr\/vijesti\/<\/a> datum pristupa 12.1.2022. <\/p>\n

        hrvati-krali-aute-po-becu-ulovili-ih-s-uredjajima-za-ometanje-zakljucavanja https:\/\/www.rtl.hr\/vijesti-hr\/novosti\/1134473\/\/<\/a> datum pristupa 10.1.2022. <\/p>\n

        koristili-neobican-alat-bosanci-krali-milodare-iz-najpoznatijih-rimskih-crkvi\/335603, https:\/\/radiosarajevo.ba\/amp\/vijesti\/svijet\/<\/a> datum pristupna 13.1. 2022. <\/p>\n

        medijske-regulatorne-agencije-i-govor-mrznje-bos-\/native\/ https:\/\/rm.coe.int\/1680a3351a<\/a>, datum pristupa 13.1.2022. <\/p>\n

        na-monstrouzan-nacin-ubio-bebu-bosanac-osuden-na-40-godina-zatvora https:\/\/hayat.ba\/\/379280\/<\/a>, datum pristupa 12.1.2022. <\/p>\n

        srbin-u-italiji-ubio-kcerku-pa-izvrsio-samoubistvo https:\/\/avaz.ba\/vijesti\/crna-hronika\/682297\/<\/a> datum pristupa 11.1.2022. <\/p>\n

         <\/p>\n

        Hate Speech disguised Language of Hate – Provocative and
        \nInflammatory Newspaper Headlines<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n


        \nLanguage itself is not an ideal method of communication, therefore the meaning given to words by the one who uttered or wrote them is often not identical to the multitude of meanings given to words by those who listen or read them. Words are not difficult to manipulate with.
        \n<\/em><\/p>\n

              <\/span><\/p>\n


        \nHate speech includes statements that intimidate, harass individuals or groups, but it includes also statements that call for violence, hatred and discrimination against individuals or groups.<\/p>\n

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

              <\/span><\/p>\n


        \nReasons for hatred and discrimination are mainly: race, religion, gender or sexual orientation.<\/p>\n

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

              <\/span><\/p>\n


        \nHate speech becomes even more complex when we know that it does not have to be based on lies and insults at all. The aestheticization of hatred and the masking of hate speech through provocative, intriguing and often inflammatory contents are on the horizon. In the era of online media, journalists also use headlines that can provoke today very malicious comments on forums in order to draw attention and thus create a negative and hostile atmosphere.
        \n<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> hate speech, hate aestheticization, newspaper headlines, inflammatory rhetoric, manipulation.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#7 2022<\/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

        DOI 10.46640\/imr.11.20.7<\/a>
        \n UDK 159.942:316.774-021.131
        \n Izvorni \u010dlanak
        \n Original scientific paper
        \n Primljeno: 25.1.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Amela Deli\u0107<\/span><\/p>\n

        University of Tuzla, Faculty of Humanities and Social Sciences, Department of Journalism
        \n Tuzla, Bosnia and Herzegovina
        \namela.delic@unitz.ba<\/p>\n

        Digital Soul: Media Intermediation of Emotions in the Internet Age<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (372 KB), English, Str. 3343 – 3362
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n


        \nThe Internet age of media communication has been gradually and subtly changing the way in which we experience ourselves and the world we live in. Broadcasting our lives on the web also involves the everyday exteriorization of emotions onto the technical mediators of the third degree, as Jensen calls them (2006). Expressions of emotional experience is something we see every day on social networks, but they are also becoming an integral part of user content under the media text on web portals. These so-called intellectual technologies are acquiring some of the essential human characteristics such as rationality, memory, calculation, and translation, as well as emotionality and communication (Carr 2014, Turkle 2011).
        \n<\/em><\/p>\n

              <\/span><\/p>\n


        \nWhere do Emotions live when we transfer them into the virtual world and how do they become an integral part of media content? Where does one\u2019s soul live when transferred to one\u2019s virtual self? These are the questions we will try to answer in the first part of this paper. <\/p>\n

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

              <\/span><\/p>\n


        \nWe will analyse the virtual space, its possibilities and limitations. We will discuss the potential of online media to mediate emotional experiences. We will also seek to understand technology and devices as an alternative humanity, when people fail or refuse to act by themselves. We will try to find answers to questions about the consequences of such mediation, referring to the research of other scholars including Siva Vaidhyanathan, Sherry Turkle, Nicholas Carr, and others.
        \nIn the second part, we will discuss the subtle encroachment of the emotional upon the world of the media. <\/p>\n

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

              <\/span><\/p>\n


        \nThe last part of the paper will present some literary analyses of media intermediation that sporadically appear in works by world-renown writers (Rushdie, Hugo, Mehmedinovi\u0107, S\u00e1bato, Spengler…) and the interaction of their understanding of the media with McLuhan\u2019s view of media intermediation and the extension\/mutilation of senses.<\/p>\n

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

         <\/p>\n

        Key words:<\/em><\/strong> emotions, digital soul, media, media intermediation, internet age, virtual space.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        Virtuality \u2013 What is it?<\/strong><\/p>\n

        “The avatar is our voodoo doll.” This is a sentence from the Netflix documentary The Social Dilemma<\/em> uttered by Tristan Harris, a former employee of Google’s ethics department, co-founder of the Center for Human Technology, and an ardent advocate of questioning the ethics of social media and search engines.<\/p>\n

        The avatar is a suit we wear when we enter the space of virtuality, the “matrix”. It is our new, extended humanity, our skin made of fibre-optic cables, and it receives its connections and stimuli from activating Facebook, Twitter, Instagram, and other notifications. Harris has compared their operation to the work of slot machines in Las Vegas. Like the sound of a slot machine, the sound of a notification causes an adrenaline rush. “It’s not just a tool. It’s an addictive technology,” says the former Google employee. Siva Vaidhyanathan has likewise compared the operation of social networks, above all Facebook, with slot machines in his book on Anti-Social Media<\/em>: “Like casinos, slot machines, and potato chips,” this social network is “designed to keep you immersed, to disorient you just enough so you lose track of the duration and depth of your immersion in the experience, and to reward you just enough that you often return, even when you have more edifying, rewarding, or pleasurable options for your time and effort within your reach” (Vaidhyanathan 2018: 37). We, on the other hand, seem to have grown accustomed to social networks so much that we notice less and less how much we depend on them. Some of us who belong to the generation of digital immigrants as Prensky calls us (Prensky 2001) still wonder what the world is like outside the virtual. For the digital natives, an alternative world may no longer even be possible. And even if it is, the numerous social networks, applications, and tools do their best to make us think little or nothing about an alternative world. There is no room for imagination in a world where we are preoccupied with designing our own identity twenty-four hours a day. There is no time for the spirit, and it is the spirit that makes us human. “Spirit is the self,” according to S\u00f8ren Kierkegaard. “The self is a relation that relates itself to itself or is the relation’s relating itself to itself in the relation; the self is not the relation but is the relation’s relating itself to itself” (1980: 13). Unfortunately, this thinking about the relation has been replaced by its joint analysis with the help of statuses, photos, tags, and comments in social media. On this path, the relation that would and should be relating to itself has been obstructed by the imputed technical extensions of our hands, our mind, our spirit.<\/p>\n

        We tend to say that the modern world of online media is “virtual”, a world of extended reality, of simulacra, a timeless and spaceless realm of \u200b\u200bfree identities. Enchanted by the Internet, we rarely and only occasionally notice that we are missing something. And even if we notice this deprivation when it manifests itself in modern neuropsychiatric diagnoses, we are convinced that the problem is only and exclusively in ourselves. The fast-paced world of the Internet and networking leaves little time for analysis. We run away from analysis, we resist it with various anaesthetics, “a reaction that is also a defence against analysis” (Bourdieu 1998: 17).<\/p>\n

        When Bourdieu wrote in his book On Television<\/em> about television as eyeglasses through which we look at the world, eyeglasses that we do not notice but that determine the range and quality of our field of vision, and when he understood television as a second-hand world, he probably had no idea that mediation could reach an even higher level or levels. Media based on the Internet technology, which Nicholas Carr calls “intellectual technologies”, have taken a step further and deeper into the virtual, mediated, and extracorporeal realm. They, Carr believes, have increased our mental abilities, but they have also displaced them outside of us. He compares the online media to a “window onto the world, and onto ourselves” that “molds what we see and how we see it \u2013 and eventually, if we use it enough, it changes who we are, as individuals and as a society” (Carr 2010). Marshal McLuhan has argued in his book Understanding Media<\/em> that speech separates the human mind from the universal unconscious. Online media, it seems to us, separate man as an individual from his personal unconscious, subconscious, and substantial. The involvement of psychoanalytic terminology in this discussion is not accidental, and we are not the first or the last to interlink these fields.<\/p>\n

        In his seminal work Difference and Repetition<\/em>, Gilles Deleuze has written about the virtual object and virtuality from a psychoanalytic and metaphysical perspective. Thereby he did not oppose the virtual to the real, but to the actual, implying that the virtual is also real. He literally claims that when he says, “the virtual is opposed not to the real but to the actual. The virtual is fully real in so far as it is virtual” (Deleuze 1994: 208). The virtual is not something that is merely possible, since it already exists, it is in itself quite real, but is translated from the world of virtuality to the world of reality by the process of actualization, i.e. individuation, by the experience of an individual subject. That world of representations exists as a past that never passes, a past that coincides with the present. “Virtual objects belong essentially to the past,” but it is “the pure past as it was defined above (\u2026) the past as contemporaneous with its own present, as pre-existing the passing present and as that which causes the present to pass. Virtual objects are shreds of pure past. It is from the height of my contemplation of virtual centres that I am present at and preside over my passing present, along with the succession of real objects in which those centres are incorporated” (Deleuze 1994: 101-102). Evidently, we sense that the differences are being erased and that the real is constantly recurring in the worlds we call real and virtual, offline<\/em> and online<\/em>.<\/p>\n

        As the unconscious, the virtual exists stored as a memory that the individual will actualize at some point. This memory, in Deleuze’s opinion, is involuntary, a term borrowed from Sigmund Freud’s psychoanalytic theory. “This kind of memory comes to us unexpectedly, not through voluntary remembering,” and Deleuze describes it as “passive synthesis, an involuntary memory that differs in nature from active synthesis” (Deleuze according to Bluemink 2020). This passive synthesis corresponds to the virtual, while the active one is a correlate of reality. The world of unconsciousness, or the world of imagination, the imagined or representation, is what the online world of modern media offers us. “The virtual is the condition for real experience, but it has no identity; identities of the subject and the object are products of processes that resolve, integrate, or actualize (the three terms are synonymous for Deleuze) a differential field. The Deleuzean virtual is thus not the condition of possibility of any rational experience, but the condition of genesis of real experience” (Stanford Encyclopedia of Philosophy<\/em><\/a>[223<\/strong><\/span>]<\/sup><\/a>).\u00a0 For Deleuze, the virtual is pre-individual, and we come to the real with individual acts of creation. The virtual is the new intrapersonal: prior to the corporeal world, it is in the world of virtual identities that we plan our next steps in behaviour \u2013 at work, in friendships, love and other relationships. We first relate to the world online and only then to the world in the realm of physical bodies. “What’s on your mind?” Facebook asks us, and we respond even before we have become fully aware of our emotions and verbalized them into meaningful sentences. But the essential problem, in our opinion, is that there is little room for actualization and creation. The virtual constantly shifts us, as a mind filled with content, from one memory to another, from one situation to another, from experience to experience, mixing everything with everything and leaving us no free space for an individual act of pure thought and creation.<\/p>\n

        On the other hand, Deleuze also speaks of the virtual as an object of subconscious aspirations, a reality that complements our everyday experience, of the elusiveness of the virtual, its fluidity and fragmentation. “Deducted from the present real object, the virtual object differs from it in kind: not only does it lack something in relation to the real object from which it is subtracted, it lacks something in itself, since it is always half of itself, the other half being different as well as absent” (Deleuze 1994: 102). It may possess reality, but that reality is different from the reality of everyday experience. “What is hidden is never but what is missing from its place<\/em>, as the call slip puts it when speaking of a volume lost in the library… For it can literally <\/em>be said that something is missing from its place only of what can change it: the symbolic. For the real, whatever upheaval we subject it to, is always in its place; it carries it glued to its heel, ignorant of what might exile it from it” (Lacan according to Deleuze 1994: 102).<\/p>\n

        Deleuze also refers to this other, extended reality as the simulacrum, that is, the world of representations, which he describes in the following terms: “(1) the depth or spatium<\/em> in which intensities are organised; (2) the disparate series these form, and the fields of individuation that they outline (individuating factors); (3) the ‘dark precursor’ which causes them to communicate; (4) the linkages, internal resonances and forced movements which result; (5) the constitution of passive selves and larval subjects in the system, and the formation of pure spatio-temporal dynamisms; (6) the qualities and extensions, species and parts which form the double differenciation of the system and cover the preceding factors; (7) the centres of envelopment which nevertheless testify to the persistence of these factors in the developed world of qualities and extensities.” It is the world, as Deleuze concludes, of an “informal chaos” that pervades and surrounds all the subjects that are part of it. These are “crowned anarchies” that are “substituted for the hierarchies of representation; nomadic distributions for the sedentary distributions of representation” (Deleuze 1994: 277-278). According to Carr, it is a world of cacophony in which everything is combined with everything else to attract our attention, and “we all know how distracting this cacophony of stimuli can be” (Carr 2010).<\/p>\n

        It is in such a world that the media operate today and that we have moved into, transferring to that world our interior, that is, our substance, our intrapersonal and interpersonal communication.<\/p>\n

         <\/p>\n

        Media intermediation of the soul: Are networks an alternative to humanity?<\/strong><\/p>\n

        This paper does not intend to paint the darkest scenarios regarding the interaction of modern technologies and man. To some extent, however, it does follow Freudianism as one of the theories on which the theories of mass society rely, because the author believes, in accordance with the opinion of other authors (Carr, Turkle, Keen, Vaidhyanathan) that social networks as digital media platforms appeal to man’s irrational aspect, the Id rather than the Ego, and that in that struggle between the Id and the Superego, man’s Ego necessarily suffers (Baran & Davis 2013).<\/p>\n

        But even though we do not endorse idealist beliefs, as Oswald Spengler calls them, describing them as those despising technology as “standing outside, or rather beneath<\/em>, ‘Culture’,” we are much closer to their critique than to the position of materialists who believe that “the aim of mankind was held to consist in relieving the individual of as much of the work as possible and putting the burden on the machine” (Spengler 1976: 6-7). Neither conviction is the happiest of solutions when it comes to thinking about modern media technologies, but not asking any questions is definitely more dangerous that either of them. And that is, it seems, a quite widespread position today. Belief in progress through and due to technology, the connection of all with everyone, has networked the whole world, and there are only a few oases of questioning. Thinking about the soul and scepticism are increasingly becoming an incident and a precedent. But who has forbidden us to raise questions? Who has convinced us that our souls are not important? Maybe no one has; maybe it is the mere abundance of “nonsense” that has made it nonsensical to ask essential questions, if we can call them that. “Sense is defined as the condition of the true,” Deleuze explains, “but since it is supposed that the condition must retain an extension larger than that which is conditioned, sense does not ground truth without also allowing the possibility of error. A false proposition remains no less a proposition endowed with sense.” Therefore, it is not lies, completely false information, or fake news that is our core problem. It is nonsense. “Non-sense would then be the characteristic of that it which can be neither true nor false,” Deleuze writes. But if repeated often enough, it makes things senseless, deconstructs, “de-establishes”, like “in newspaper competitions (where everyone is called upon to choose according to his or her taste, on condition that this taste coincides with that of everyone else” (Deleuze 1994: 153, 158). Today, this is called the filter cocoon, which is a world of closed cocoons in which a person surrounds himself or herself with like-minded people in the world of online media, where truth becomes what he or she wants to see as the truth (Susten, according to Vozab 2017: 5). Andrew Keen writes about this in his work The Cult of the Amateur<\/em>, where he explains that in the online media, the sum of two and two can be five if we agree upon it (Keen 2007). And when nonsense is created, then it gets repeated endlessly, until this repetition turns into pathology. “In short, things repeat always by virtue of what they are not and do not have. We repeat because we do not hear” (Deleuze 2004: 340). And that is why it is important to interrupt this repetition with therapeutically important, unpleasant questions. Such as the question of the soul, which has become almost offensive in a culture of unprecedented progress. Spengler also brings us back to that question, connecting the seemingly unconnected \u2013 technology and the soul, or rather technology and its soul. “If, then, we would attach a significance to technics, we must start from the soul<\/em>, and that alone. For the free-moving life of the animal is a struggle, and nothing but struggle, and it is the tactics<\/em> of its living, its superiority or inferiority in face of ‘the other’ (whether that ‘other’ be animate or inanimate Nature), which decides the history<\/em> of this life\u2026 (\u2026) Every machine serves<\/em> some one process and owes its existence to thought about this process<\/em>. (\u2026) They are all just sides of one active, fighting, and charged life<\/em>” (Spengler 1976: 9, 10). A question that we have not yet asked, and to which we will not know the answer any time soon, is the question of the idea behind the \u200b\u200bnetwork media technologies. What did we imagine while creating these weapons\/tools? Let us hope that the modern robot “Sophia” is not the answer to this question. If we wanted to create a “superman”, did we turn ourselves into a burden? <\/p>\n

        So, it would be important to ask about the goal. “But whither? For how long? And what then?<\/em> It was a little ridiculous, this march on infinity, towards a goal which men did not seriously think about or clearly figure to themselves or, really, dare<\/em> to envisage \u2013 for a goal is an end<\/em>. No one does (or should be doing, author’s remark) a thing without thinking of its direction and its conclusion<\/em>. (\u2026) Every truly creative human being knows and dreads the emptiness<\/em> that follows upon the completion of a work” (Spengler 1976: 10). And we are still convinced of a happy ending. But happy for whom? We believe, for man the creator. Between the eye and the hand as his tools, as Spengler classifies them, man has chosen to focus on the hand and the weapon in it. So besides the “‘thought of the eye’ (\u2026) we have now the ‘thought of the hand.’ From the former in the meantime has developed the thought that is theoretical, observant, contemplative \u2013 our ‘reflection’ and ‘wisdom’ \u2013 and now from the latter comes the practical, active thought, our ‘cunning’ and ‘intelligence’ proper.” (Spengler 1976: 21-22). “The eye seeks out cause and effect, the hand works on the principle of means and end. The question of whether something is suitable or unsuitable \u2013 the criterion of the doer<\/em> \u2013 has nothing to do with that of true and false, the values of the observer<\/em>. And an aim is a fact<\/em>, while a connexion of cause and effect is a truth<\/em>.” Man’s purposeful part does not deal with the questions of meaning or truth. Like nonsense, he is not interested in values \u200b\u200band the soul. “What it must have been to man’s soul, that first sight of ta fire evoked by himself!” (Spengler 1976: 22). We do not know if anyone else has considered this question. <\/p>\n

        Man is the only one, according to Spengler, who has managed to separate his tactics of living from the very act of living. Every living being has a tactics of living, he believes. But in animals and plants, it typically does not change. “The bee type, ever since it existed, has built its honeycombs exactly as it does now, and will continue to build them so till it is extinct,” he writes. On the other hand, man is capable of more. “Technics in man’s life (\u2026) is learned and improved. Man has become the creator<\/em> of his tactics of living” (1976: 17-18). So, in other words, we have chosen and built the life we \u200b\u200blive today by ourselves, there is no doubt about it. But the question that constantly hangs above us like the sword of Damocles is the potential of the technics we cultivate and upgrade for liberation\/captivation. The possibility of man’s liberation and the threat of his captivation by the technology he has developed are constantly intertwined. The mass media, which are among the most affected by human dealing with the technics of living and its progress, reflects this image of the sword above our heads. Free speech and hate speech, connecting with friends and enclosing ourselves in the circle of like-minded people, freedom to find jobs and abuse or exploitation of cheap labour, the right to self-expression and abuse of privacy \u2013 these are constantly in conflict. It is difficult to find the right measure…<\/p>\n

         <\/strong><\/p>\n

        Thoughts and emotions in the media intermediated world <\/strong><\/p>\n

        “We’re too busy being dazzled or disturbed by the programming to notice what’s going on inside our heads.” This is how Carr writes about the changes that occur in human behaviour, mind, and spirit while using online media. Literally taking McLuhan’s thesis about the medium as a message, Carr argues that these media “supply the stuff of thought, but they also shape the process of thought” (Carr 2010). He considers the Internet as a universal medium that has many advantages, but occupies us too much with the glare and mass of content it produces, so our brain gets used to interruptions, to non-linear thinking that constantly shifts from one subject of interest to another. It is, as Carr puts it, a “wayward brain.” He compares it, a little nostalgically, with the way of thinking that he cultivated as a student while helping out in the faculty library. “Despite being surrounded by tens of thousands of books, I don’t remember feeling the anxiety that’s symptomatic of what we today call ‘information overload.’ There was something calming in the reticence of all those books, their willingness to wait years, decades even, for the right reader to come along and pull them from their appointed slots” (Carr 2010). On the other hand, the online media work differently on our minds. He considers them as “intellectual technologies,” which “have the greatest and most lasting power over what and how we think. They are our most intimate tools, the ones we use for self-expression, for shaping personal and public identity, and for cultivating relationships with others” (Carr 2010). According to him, they have imposed their own “intellectual ethics” on the world, same as all other intellectual technologies, such as clocks or maps. In other words, the very existence of these media, even if one excludes their content, has changed in a way our perception and understanding of the world around us. “The intellectual ethic,” Carr believes, “is the message that a medium or other tool transmits into the minds and culture of its users” (Carr 2010). Stig Hjarvard calls this intellectual ethic “media logic,” which implies “an institutional and technological modus operandi of the media” (Hjarvard 2008: 113). Thereby he primarily refers to the content of media exchange, explaining that “the media are able universally, across all fields, to form the categories that everyone uses to interpret the world. (…) the media have an essentially ideological power to describe society in a way that seems the only ‘natural’ way to comprehend it” (Couldry according to Hjarvard, 2008: 128). And the very “calling an algorithmically defined online configuration ‘social’ has been one of the smartest semantic moves in the history of media institutions,” as Couldry and Van Dijck observe (2015: 3). Using the term “social” to describe “computational connectivity has been a peculiar example of reversification \u2013 a process in which words come to have a meaning that is opposite to, or at least very different from, their original sense” (2015, 4). The “social” in this sense actually refers to the techno-economic power that is achieved through connections, likes, and shares, which are, in fact, units of attention, a commodity that is best sold in the online media and which is referred to by the euphemism “social connections.” All our data are quantified, and the said authors consider our personal data, such as health information, to be the most problematic. Numerous applications allow us to monitor our health, exchange data on the effectiveness of treatment of our chronic diseases, data on our training and calorie intake, data that are transferred into the virtual domain, quantified, and used for economic purposes. <\/p>\n

        In her famous book Alone Together<\/em>, psychologist Sherry Turkle has discussed our reliance on technology in areas such as emotions, family ties, and immanently human or humane tasks such as caring for the elderly and children. She has traced the genesis of robots from the earliest and simplest toys such as Furbies and Tamagotchis to modern robots like the abovementioned Sophia. Referring to the fact that children and the elderly tend to develop certain emotions towards toy robots, she justifiably asks: “If a robot makes you love it, is it alive?” (Turkle 2010: 26). Turkle argues that “digital connections and the sociable robot may offer the illusion of companionship without the demands of friendship” and that, as “we distribute ourselves, we may abandon ourselves” (Turkle 2010: 1, 12). Her question is similar to ours: “Does virtual intimacy degrade our experience of the other kind and, indeed, of all encounters, of any kind?” (Turkle 2010: 12) So, the question remains: what is lost by accepting the benefits that each new medium and technology bring us?<\/p>\n

        For Turkle, technology is like a “phantom limb” that we feel regardless of whether it is there or not. So it happens that we imagine we have heard our phone vibrate, that some other sound seems like a notification from social networks, or that we panic when we realize that we have forgotten our smartphone at home. And do we even need to mention the places where we do not have access to the Internet and the way such situations cause anxiety? Turkle also reflects on the ethical consequences of increasingly relying on technology in everyday activities. She recalls several psychological experiments in which people were called upon to injure robots in some way, after which their emotional reactions were analysed. In 2000, toymaker Hasbro introduced the robot doll “My Real Baby,” which screamed if you touched it so as to cause pain, and calmed down if you stroked it and gave it a pacifier.” Turkle and a group of researchers presented the doll to children in an institution. Some of them tortured it, while others protected it. Regardless of which of the children did what, Turkle has concluded that “sociable robots have taught us that we do not shirk from harming realistic simulations of life. This is, of course, how we now train people for war. First, we learn to kill the virtual. Then, desensitized, we are sent to kill the real” (Turkle 2011: 47). <\/p>\n

        The conclusion may seem exaggerated, but tackles problems such as virtual violence, insults and hate speech, deleting and “blocking” people, and ridiculing the sick and weak. The author has also observed the way in which not only children, but also the elderly to whom robots have been given for therapeutic purposes (such as pet robots for people in nursing homes), relate to these technological creatures. The connection is certainly established, but in Turkle’s opinion, it does not say much about the robots themselves or what they can offer us. Instead, these robots, as well as social networks, tell us more about what we actually lack. “Now the ‘work’ envisaged for machines is the work of caring” (Turkle 2011: 108). Just like robots, other technological inventions and media are, unfortunately, “rarely challenged. All eyes focus on technical virtuosity and the possibilities for efficient implementation” (Turkle 2011: 104). In her research as well as summarizing the results of other scholars, Turkle has precisely traced the direction of changes that occur in our emotional being through such mediations, which are increasing day by day. “The emotional charge on cyberspace is high,” she concludes, and “we are all cyborgs now” (Turkle 2011: 153, 152). “Networked, we are together, but so lessened are our expectations of each other that we can feel utterly alone. And there is the risk that we come to see others as objects to be accessed \u2013 and only for the parts we find useful, comforting, or amusing.” In fact, “being alone can start to seem like a precondition for being together because it is easier to communicate if you can focus, without interruption, on your screen” (Turkle 2011: 154, 155).<\/p>\n

         <\/strong><\/p>\n

        Literature has long understood it, or: Will this kill that?<\/strong><\/p>\n

        What philosophers and communication scientists are debating today found its place in literature a long time ago. And although there is less and less space in the media sphere for thinking or perhaps criticizing our modern toys, in literature there are still free oases of criticism. In this paper, we would like to mention several authors who have addressed the issue of some of our contemporary media. We believe that interaction between philosophy, communication sciences, media philosophy, and literature could create room for initiating discussions on the media-technological networking of all with everyone. Various authors from around the globe and from our country have critically written on technology and its role in human life. From Hugo and S\u00e1bato to Rushdie and Mehmedinovi\u0107, each of them has at least in some segment addressed the changes in man, his understanding of himself and the world he lives in within the context of modern media and media technologies. The medium of photography appears most often as a motif, but it is not uncommon for other media that McLuhan has written about to appear in such analyses.<\/p>\n

        “The archdeacon gazed at the gigantic edifice for some time in silence, then extending his right hand, with a sigh, towards the printed book which lay open on the table, and his left towards Notre-Dame, and turning a sad glance from the book to the church, \u2013 ‘Alas,’ he said, ‘this will kill that.’”<\/p>\n

        This is how Victor Hugo wrote in 1831 in his novel The Hunchback of Notre Dame<\/em> about the new reality presented to the church officials with the appearance of the press. This sentence resonates across time and accompanies various technological revolutions and new inventions. There have always been concerns that the press will destroy the medium of architecture, writing the medium of memory, radio broadcasting the medium of writing and printing, television the medium of voice, and the Internet medium all of the above. But only a few have been brave enough to ask what will happen to the soul of all these media, or the soul of man himself, which is mediated and transmitted by these media to what is visible to the eye, and what McLuhan has identified in the media of clothing, games, dance, housing, means of transportation, tools, and weapons of all kinds.<\/p>\n

        As Hugo himself said, the archdeacon’s sentence has a double meaning. It first expresses the priests’ fear of the printing medium that came with Gutenberg’s invention. Today, the fear that robots and Internet services will take over our business has crept into our bones. In fact, we have lived too long and too intensely in this world without even noticing that we ourselves are actually \u2013 half-robots. The fear that the archdeacon feels is interesting, but from our media point of view not so much as the other meaning of this thought that the writer reveals to us.<\/p>\n

        “It was a presentiment that human thought, in changing its form, was about to change its mode of expression; that the dominant idea of each generation would no longer be written with the same matter, and in the same manner; that the book of stone, so solid and so durable, was about to make way for the book of paper, more solid and still more durable. In this connection the archdeacon’s vague formula had a second sense. It meant, ‘Printing will kill architecture.’” (Hugo 1831).<\/p>\n

        Here the writer, philosophically, as a true connoisseur of the nature of the media, notices that one medium gets replaced by another, but that this change does not mean only a superficial change in the form of exchange and relations, a change in the communication mode, but that it fundamentally changes the very content of what is being exchanged. Media technology itself is not neutral. Here, the words of Victor Hugo reassert a thought of Friedrich Nietzsche, who once wrote in a letter to his friend, “You are right. Our writing equipment takes part in the forming of our thoughts” (Carr 2010).<\/p>\n

        Hugo further comments on the medium of architecture, explaining that initially it was only an alphabet, that each stone was a hieroglyph, and that the completed buildings were sentences, thoughts, signs that needed to be understood in order to understand the man who created them. “At last they made books. (\u2026) The generating idea, the word, was not only at the foundation of all these edifices, but also in the form,” he writes. Even the places where the buildings were growing said something about the thought built into them: these places were the context, the meta-information about the key message transmitted by the constructed buildings. As time changed, “the face of architecture is changed also. Like civilization, it has turned a page, and the new spirit of the time finds her ready to write at its dictation” (Hugo 1831).<\/p>\n

        Before Gutenberg’s invention, in Hugo’s opinion, architecture was the main medium for writing down human thoughts. In the fifteenth century, thought found a new:<\/p>\n

        “\u2026 mode of perpetuating itself, not only more durable and more resisting than architecture, but still more simple and easy. Architecture is dethroned. Gutenberg’s letters of lead are about to supersede Orpheus’s letters of stone. The book is about to kill the edifice. The invention of printing is the greatest event in history. It is the mother of revolution. It is the mode of expression of humanity which is totally renewed; it is human thought stripping off one form and donning another; it is the complete and definitive change of skin of that symbolical serpent which since the days of Adam has represented intelligence” (Hugo 1831).<\/p>\n

        That is how Hugo thought about the press. For him, architecture was obviously a rigid form of human thought, firmer, stronger, and more penetrating, but still limited by time and space. The printed word was perceived as freer. Metaphorically, he wrote that the human mind shed its skin like a snake, taking off the stone one and putting on one made of paper. Today, that skin is an invisible network of signals, fibre-optic cables, virtual worlds…<\/p>\n

        “It is volatile, irresistible, indestructible. It is mingled with the air. In the days of architecture it made a mountain of itself, and took powerful possession of a century and a place. Now it converts itself into a flock of birds, scatters itself to the four winds, and occupies all points of air and space at once” (Hugo 1831).<\/p>\n

        As a new medium, the press grows and develops on the ruins of the old. Here the writer senses a metamorphosis \u2013 a new medium will emerge from the old. “Meanwhile what becomes of printing? All the life which is leaving architecture comes to it. In proportion as architecture ebbs, printing swells and grows. That capital of forces which human thought had been expending in edifices, it henceforth expends in books.” The writer celebrates the victory of the press, but he also pays homage to architecture, concluding that “the human race has two books, two registers, two testaments: masonry and printing; the Bible of stone and the Bible of paper. (\u2026) This book, written by architecture, must be admired and perused incessantly; but the grandeur of the edifice which printing erects in its turn must not be denied” (Hugo 1831). Today we might have the third great book, a virtual book written by millions of people around the world, all those network users. At times, it even seems that the same thoughts are literally repeated about each new medium. Thus, Hugo has the following to say about the press:<\/p>\n

        “The press, that giant machine, which incessantly pumps all the intellectual sap of society, belches forth without pause fresh materials for its work. The whole human race is on the scaffoldings. Each mind is a mason. The humblest fills his hole, or places his stone. (…) Assuredly, it is a construction which increases and piles up in endless spirals; there also are confusion of tongues, incessant activity, indefatigable labor, eager competition of all humanity, refuge promised to intelligence, a new Flood against an overflow of barbarians. It is the second tower of Babel of the human race” (Hugo 1831). <\/p>\n

        In his collection of essays titled The Resistance<\/em> (2000), Ernesto S\u00e1bato has critically addressed the medium of television. This medium has gradually expelled honest and genuine conversation from households, S\u00e1bato believes, and “table talk, including the discussions or angers, already seem replaced by the hypnotic vision” (S\u00e1bato 2013). In the first essay of this book, S\u00e1bato writes: “Television tantalizes us, we remain almost captivated by it. This effect between magical and malevolent is due, I think, to the excess of its light that overcomes us with its intensity. I cannot but remember that same effect it produces on insects, and even on the large animals. And then, it is not only difficult to leave it, but we also lose the everyday capacity to look and see.” And indeed, this is how people spend their days away from their own lives. They look at smartphones, computers, television, all those mighty screens that surround us, living entirely beside themselves and the moment. Sherry Turkle has explained this in a similar way, saying that “if you’re spending three, four, or five hours a day in an online game or virtual world (a time commitment that is not unusual), there’s got to be someplace you’re not. And that someplace you’re not is often with your family and friends \u2013 sitting around, playing Scrabble face-to-face, taking a walk, watching a movie together in the old-fashioned way” (Turkle 2011: 12). S\u00e1bato goes on: <\/p>\n

        “It is urgent to reconnect with the common spaces that prevent us from being a massified multitude isolatedly watching television. What is paradoxical is that through that screen we seem to be connected with the entire world, when in truth it removes the possibility of humanly cohabiting, and what is equally serious, predisposes us to apathy” (S\u00e1bato 2013).<\/p>\n

        He also believes that: <\/p>\n

        “One becomes lethargic in front of the screen, and while finding nothing of what one seeks, they stay there anyway, incapable of rising and doing something good. It takes away the desire to work on some artisanry, read a book, fix something in the house while listening to music or drinking mat\u00e9. Or going to the bar with some friend, or conversing with your own. It is a tedium, a boredom to which we accustom ourselves ‘for lack of something better.’ Being monotonously seated before the television anesthesizes the senses, makes the mind slow-witted, harms the soul” (S\u00e1bato 2013).<\/p>\n

        S\u00e1bato argues that “man is accustomed to passively accepting a constant sensory intrusion. And this passive attitude ends being a mental servitude, a true enslavement” (S\u00e1bato 2013), which Turkle simply calls “disorientation” (Turkle 2011).<\/p>\n

        S\u00e1bato has abandoned science to devote himself entirely to literature, and he dares to ask the question about the destiny of the soul. Criticizing modern medicine for mistakenly viewing the human body as separate from his soul, he writes in another essay:<\/p>\n

        “Man is not a simple physical object, deprived of a soul, nor even a simple animal: they are an animal that not only has a soul but also a spirit, and the first of the animals to have modified its own environment as a work of culture. As such, he is an equilibrium \u2013 unstable \u2013 between his own energy and his physical and cultural medium. (…) It is not surprising that modern sicknesses like cancer be essentially due to the imbalance which technology and modern society have produced between man and his environment. Is cancer not perhaps a certain type of unmeasured and vertiginous growth?” (S\u00e1bato 2013)<\/p>\n

        He also recalls the rebellion of textile workers, which is often referred to as the “Luddite movement” in debates about the consequences of global networking:<\/p>\n

        “We cannot forget that before sowing, fishing, the gathering of the fruits, the elaboration of artisanry, like work as a blacksmith or in a dressmaking shop, or in country establishments, persons gathered and were incorporated in the totality of their personalities. It was the intuition of the beginning of this rupture which brought the 18th-century workers to rebel against the machines, to wish to set them on fire. Today men tend to massively cohere in order to comply with the growing and absolute functionality the system requires hour by hour. But between the life of the great cities, which passes over like a tornado over the desert sands, and the custom of watching television, where one accepts whatever happens and does not feel responsible, liberty is in danger” (S\u00e1bato 2013).<\/p>\n

        We can achieve liberty without starting the machines. Only we should not be the machines ourselves. We should not serve them instead of them serving us.<\/p>\n

        In this essay, S\u00e1bato again writes about information, arguing that “the human being spins in the wind without finding where to base themself, whether in the sky or in the earth, while she is choking on an avalanche of information that cannot be controlled and from which she receives no nourishment whatsoever.” Nicholas Carr has described the same phenomenon of changes that the human mind experiences in the following way:<\/p>\n

        “It’s that the Net delivers precisely the kind of sensory and cognitive stimuli \u2013 repetitive, intensive, interactive, addictive \u2013 that have been shown to result in strong and rapid alterations in brain circuits and functions. With the exception of alphabets and number systems, the Net may well be the single most powerful mind-altering technology that has ever come into general use” (Carr 2010).<\/p>\n

        S\u00e1bato, on the other hand, repeats and answers in the affirmative Rilke’s question “Is it possible that despite inventions and progress, despite culture, religion and knowledge of the universe, one has remained on the surface of life?” He adds the following question: “What has man put in place of God? They have not been liberated from cults and altars. The altar remains, yet now it is not the place for sacrifice and abnegation, but instead that of well-being, the cult to oneself, of the reverence for the great gods of the screen.” The metaphor “gods of the screen” fits incredibly well into today’s networked world. Today it is information, or rather pseudo-information as modern revelation, and the screen, the big screen as the technical god of a man who has lost the god in himself.<\/p>\n

        The essay “Resistance” begins with the statement that “the vertigo is the worst.” Fear is characteristic of it, “man acquiring the behavior of an automaton, being no longer responsible, no longer free, not recognizing others.” That mass vertigo and mass production dehumanize man. “Man cannot sustain humanity at this velocity, will be annihilated if he lives as a robot” (S\u00e1bato 2013).<\/p>\n

        “Now nothing moves at man’s pace, for who among us walks slowly? Yet the vertigo is not only outside, we have assimilated it in a mind that never stops emitting images, as if it could ‘zap’, and perhaps the acceleration will have reached the heart that already throbs urgently for everything to happen fast and not remain” (S\u00e1bato 2013).<\/p>\n

        “Defend, as occupied peoples have done heroically, the tradition that tells of what is sacred in man. Not to let the grace be wasted of the small moments of liberty that we can enjoy: a table shared with people we like, some creatures to whom we give shelter, a stroll among the trees, the gratitude of a hug. A fearless act like jumping from a flaming house. Those are not rational deeds, but it is not important for them to be so, being saved by the results. The world is powerless against a man who sings while in misery” (S\u00e1bato 2013).<\/p>\n

        Salman Rushdie, unlike S\u00e1bato and Hugo, focuses his attention on the medium of photography, which he understands with supreme precision and depth.<\/p>\n

        “But I remember only silence, the silence of great horror. The silence, to be more exact, of photography, because that was my profession, so naturally it was what I turned to at the moment the earthquake began. All my thoughts were of the little squares of film passing through my old cameras, Voigtl\u00e4nder Leica Pentax, of the forms and colours being registered therein by the accidents of movement and event, and of course by the skill or lack of it with which I managed to point the lens in the right or wrong direction at the wrong or right time” (Rushdie 2020).<\/p>\n

        This is how the novel’s main character experienced a natural disaster: through photography, that is, through a medium rather than through his own sense of sight. In Rushdie’s novel The Ground beneath Her Feet<\/em>,he often reflects on the medium of photography, in an inner monologue and transmitting the writer’s own ideas. For Rushdie, a photograph is a “moral decision” as it steals moments. “In my stolen photographs \u2013 for the photographer must be a thief, he must steal instants of other people’s time to make his own tiny eternities \u2013 it was this intimacy I sought, the closeness of the living and the dead” (Rushdie 2020). In addition to photography, he also reflects on other media, and similarly to S\u00e1bato, he wonders about the sense of our accelerated life. Do we really need that much speed and to constantly focus on the new(s)? This is what the main character says about it:<\/p>\n

        “I’ve been an event junkie, me. Action has been my stimulant. I always liked to stick my face right up against the hot sweaty surface of what was being done, with my eyes open, drinking, and the rest of my senses switched off. I never cared if it stank, or if its slimy touch made you want to throw up, or what it might do to your taste buds if you licked it, or even how loud it screamed. Just the way it looked. That’s where for a long time I went for feeling, and truth. What Actually Happens: nothing to beat it, when you’re pressed up against it, as long as you don’t get your face torn off. No rush like it on earth” (Rushdie 2020).<\/p>\n

        He seems to se through our addiction to the news, as if he interacted with Harris from the beginning of our story, as if he understood the slot mechanism of the modern media world. In his descriptions of the city of Bombay, Rushdie also reaches McLuhan’s heights of interpreting living space as an extension of our body. Through the city, he also interprets its inhabitants, their habits, preferences, lack or excess of taste, lack or excess of emotionality, openness or closedness. “Bombay belonged too completely to my parents, V.V. and Ameer. It was an extension of their bodies, and, after their deaths, of their souls” (Rushdie 2020). At one point in the novel, he also discusses the medium of television. In it, mediation has already reached the level where that which has been transferred to the virtual sphere, onto the television screen, completely loses its originality.<\/p>\n

        “In the days before globalized mass communication (\u2026) an event could occur, pass its peak and fade away before most people on earth were even aware of it. Now, however, the initial purity of what happens is almost instantly replaced by its televisualization. Once it’s been on tv, people are no longer acting, but performing<\/em>. Not simply grieving, but performing grief<\/em>. Not creating a phenomenon out of their raw unmediated desires, but rushing to be part of a phenomenon they have seen on TV. This loop is now so tight that it’s almost impossible to separate the sound from the echo, the event from the media response to it. From what R\u00e9my insists on calling the immediatization of history<\/em>” (Rushdie, 2020).<\/p>\n

        Perhaps in the 1990s, when he wrote this novel published in 1999, Rushdie already foresaw the scale of immediatization that the society would reach in the era of online media. Since social networks had not yet appeared by that time, perhaps the writer considered the television, still the most dominant medium of that period, as the most powerful mediator stealing all originality from the events. “The avatar is our voodoo doll,” says Harris. Rushdie analyses the notion of the avatar from another perspective, the religious one. In Sanskrit, he says, “avatar” means “descent”. “In Hinduism, it is the incarnation of a deity on earth in a human or animal form, especially any of the ten incarnations of Vishnu” (2019: 323). We find this explanation in Rushdie’s novel Midnight’s Children<\/em>, published in 1981. This avatar metaphor echoes the aforementioned metaphor of the screen as a deity. Contemplating all these literary interpretations of screens, media, and avatars, free from discipline and censorship, rich in free associations and the most profound subconscious fantasies, we cannot help but think and wonder: Did man see in technology his primordial dream of approaching divinity? Did he see in technology the means by which he would finally banish the divine and ascend the throne of the supreme ruler? What if this dream turns out to be a nightmare…<\/p>\n

        In his seminal work Understanding Media<\/em>, McLuhan comments on the car being a medium, not just a means of transportation or a tool. He explains that the car has separated man from nature, created the asphalt, and made “taking a spin in the country” an activity that is planned rather than taking place spontaneously and naturally. Perhaps even more interesting is his understanding of air travel, which he believes has fundamentally changed the experience of travelling, as it now actually begins only when a person gets off an airplane. The Bosnian-Herzegovinian writer Semezdin Mehmedinovi\u0107 has come to the same conclusion using the methods of literature. “We are driving. The car is an instrument of time. An airplane cannot be that. In the car, on the road, you are reduced to your bare existence and the body is focused on the present,” Mehmedinovi\u0107 writes. “An airplane is something else, flying from one place to another, it is a violent compression of time that completely abolishes our real experience of space” (2021: 64). An identical opinion, one might say, although the two authors have lived in different time periods and dealt with different areas in which they sought to interpret the world and know the truth. Mehmedinovi\u0107 has also addressed the medium of photography on several occasions. And while Rushdie believes that it “steals” moments, halts people in them and captures them together with their experiences, Mehmedinovi\u0107 thinks that photography has the power to “revive” (2021: 76). However, he also has a strong awareness of the mediation that this medium performs. And he understands the virtuality of the moments recorded by the photographic medium.<\/p>\n

        “Today, I came across several scenes of a young Colombian director named Ciro Guerra on the Internet,” he writes and continues:<\/p>\n

        “In one scene, a Western scientist shows a photograph of an almost completely extinct tribe to a shaman; this picturesque resident of the Amazons apparently sees a photograph for the first time in his life, and then looks with interest at himself in that picture, sees his necklace there, then stares at the same object on his chest and compares. When the scientist tries to take the photo back from his hands, he is surprised and says: ‘What are you doing?’ ‘I’ll keep it, it’s mine.’ ‘But this is me,’ says the confused shaman. And then the scientist corrects him: ‘This is not you. It is a picture of you.’” (2021: 148).<\/p>\n

        We could perhaps continue this passage. This is not happiness, it is a picture of a smile, this is not love, it is a picture of people who look like they are in love, this is not success, it is a picture of what we would like to consider as success, this is not your essence, it is a form…<\/p>\n

         <\/strong><\/p>\n

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

        In this paper, we have raised several questions regarding the media intermediation of human emotions on the Internet. Ubiquitous, social networks and intermediaries of the third degree are increasingly mediating man’s emotions, imposing themselves on the path between man and his own self. Thinking about oneself, contemplation, and creation are separated from the human spirit and end up with technical intermediaries that ask them, even before they ask themselves the same question: “What’s on your mind?” We find the world outside the virtual to be less and less comprehensible, and we often talk about some new, virtual reality, unaware that it is already omnipresent and that we have migrated into it. The world of representations offered by the virtual has existed for a long time as a past that never passes, and as a past that coincides with the present. It is at the same time the object of our subconscious aspirations, a virtual realization of our Id and Superego in which the Ego finds it ever harder to manage and find its peace. The virtual self is fluid and fragmented, elusive and attractive, yet essentially lacking and unfulfilled.<\/p>\n

        In this paper, we have referred to the opinions of theorists who are more inclined to a pessimistic attitude when it comes to the way in which the online media have spread and crippled the world of our emotional experiences. We have communicated with the opinions of Carr, Turkle, Vaidhyanathan, Keen, Baran and Davis, McLuhan, and Spengler. From different perspectives, these authors have approached the issue of virtuality in a similar way, as a space in which nonsense replaces sense, which is, same as the truth in the online media, increasingly difficult to find. Isolated in his filter cocoon, in the circle of like-minded people, man has closed the paths of self-reflection and exposed himself to endless repetition of the same, multiplied, not thinking too often about the senselessness of the content he is viewing. In his technical extensions, man sees the expression of his superiority over other living beings, without noticing that the creature has apparently taken on the roles of the creator in the process.<\/p>\n

        Enthusiastic about his technical toys, man pays little attention to the way in which these “intellectual technologies” alter his way of thinking, his attitude towards the world, and ultimately his attitude towards himself. Thus, Nicholas Carr refers to the Internet as a universal medium that has many advantages, but occupies us too much with the glare and massiveness of the content it produces. Our brains get used to interruptions in the process, to non-linear thinking that constantly shifts from one subject to another. It is, as Carr puts it, a “wayward brain.” For Sherry Turkle, technology is like a “phantom limb” that we feel regardless of whether it is there or not. All these authors call for thinking about and understanding these media.<\/p>\n

        In the second part of the paper, we have offered examples of critique and reflection in the field of literature. Various authors have, in their literary works, consciously or not, identified the impact of modern technology on our soul and our emotional world essentially and better than many of its apologists. Commenting on the appearance of printed books, Hugo wrote the prophetic “This will kill that,” believing that the printed medium would gradually abolish architecture as art. He observed how one medium was being replaced by another, which was not merely a superficial change in the form of exchange and relations, a change in the way of communication, but essentially changed the content of what was being exchanged. Ernesto S\u00e1bato has critically analysed the television medium, accusing it of separating us from each other, of drugging us and making us lethargic. According to him, a long stay in front of the television screen “anesthesizes the senses, makes the mind slow-witted, harms the soul” (S\u00e1bato 2013). He criticizes our slavish adoration of the “gods of the screen” and protests against the fragmentation of moments and experiences, of our inner worlds, caused by our constant staring at the television screen. Salman Rushdie has criticized the medium of photography as stealing moments from the living world. He has even identified the housing medium as an extension of our skins, discussing the mediatization and networking of the world in his novels. Finally, Semezdin Mehmedinovi\u0107, a writer from Bosnia and Herzegovina, has warned, similarly to McLuhan, that the airplane as a means of transportation condenses time and space, but he sees photography as a way of “reviving” the moment. All these literary associations are highly interesting, as they present technology as acquiring abilities that are usually reserved for divinities \u2013 stealing moments, killing and reviving, condensing and creating…<\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[223<\/strong><\/span>]<\/sup><\/a> 
        \nDaniel Smith and John Protevi (2008): “Gilles Deleuze,”         https:\/\/plato.stanford.edu\/entries\/deleuze\/<\/a> (last accessed on April 25, 2022). <\/span><\/p>\n<\/div>\n

         <\/p>\n

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

        Baran, Stanley J. and Dennis K. Davis (2013): Mass Communication Theory: Foundations, Ferment and Future<\/em>. Stanford, CA: Cengage Learning. <\/p>\n

        Bluemink, Matt (2020): On Virtuality: Deleuze, Bergson, Simondon<\/em>, https:\/\/epochemagazine.org\/36\/on-virtuality-deleuze-bergson-simondon\/<\/a> (last accessed on April 25, 2022).<\/p>\n

        Bourdieu, Pierre (1998): On Television<\/em>, trans. Priscilla Parkhurst Ferguson. New York: The New Press.<\/p>\n

        Carr, Nicholas (2010): The Shallows: What the Internet Is Doing to Our Brains<\/em>. New York and London: W.W. Norton & Company (unpaginated e-book).<\/p>\n

        Couldry, Nick and Jose Van Dijck (2015): “Researching Social Media as if the Social Mattered,” Social Media and Society: Culture Digitally<\/em>: 1-7.<\/p>\n

        Deleuze, Gilles (1994): Difference and Repetition<\/em>, trans. Paul Patton. New York: Columbia University Press; (2004): New York and London, Continuum. <\/p>\n

        Hjarvard, Stig (2008): “The Mediatization of Society: A Theory of the Media as Agents of Social and Cultural Changes,” Nordicom Review<\/em> 29 (2): 105-134. <\/p>\n

        Hugo, Victor (1831): The Hunchback of Notre Dame<\/em>, trans. I. Hapsgood. New York: Carey, Lea, and Blanchard, https:\/\/etc.usf.edu\/lit2go\/107\/the-hunchback-of-notre-dame\/<\/a> (last accessed on April 25, 2022).<\/p>\n

        Keen, Andrew (2007): The Cult of the Amateur: How Today’s Internet is Killing Our Culture<\/em>. New York: Doubleday.<\/p>\n

        Kierkegaard, S\u00f8ren (1980): The Sickness unto Death: A Christian Psychological Exposition for Upbuilding and Awakening<\/em>, ed. and trans. Howard V. Hong and Edna H. Hong. Princeton, NJ: Princeton University Press. <\/p>\n

        McLuhan, Marshal (2003): Understanding Media: The Extensions of Man<\/em>. Corte Madera, CA: Gingko Press.<\/p>\n

        Mehmedinovi\u0107, Semezdin (2021): Me’med, Crvena bandana i Pahuljica<\/em> [Mehmet, Red Bandana, and Snowflake]. Sarajevo: Buybook. <\/p>\n

        Prensky, Mark (2001): Digital Natives, Digital Immigrants<\/em>. MCB University Press. Vol. 9, No 5. <\/p>\n

        Rushdie, Salman (2020): The Ground beneath Her Feet<\/em>. London: Vintage Books (unpaginated e-book). <\/p>\n

        S\u00e1bato, Ernesto R. (2013): The Resistance<\/em>, trans. D. Ohmans , http:\/\/webshells.com\/spantrans\/resaba.htm<\/a> (last accessed on April 25, 2022). <\/p>\n

        Smith, Daniel and John Protevi (2008): Gilles Deleuze<\/em>, https:\/\/plato.stanford.edu\/entries\/deleuze\/<\/a> (last accessed on April 25, 2022).<\/p>\n

        Spengler, Oswald (1976): Man and Technics: A Contribution to a Philosophy of Life<\/em>, trans. Charles Francis Atkinson. Santa Barbara, CA: Greenwood Press. <\/p>\n

        Turkle, Sherry (2011): Alone Together: Why We Expect More from Technology and Less from Each Other<\/em>. New York: Basic Books.<\/p>\n

        Vaidhyanathan, Siva (2018): Anti-Social Media: How Facebook Disconnects Us and Undermines Democracy.<\/em> Oxford: Oxford University Press.<\/p>\n

         <\/p>\n

        Digitalna du\u0161a: medijsko posredovanje emocija u mre\u017enom dobu<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n


        \nMre\u017eno doba medijskog posredovanja postepeno i suptilno mijenja na\u010din na koji do\u017eivljavamo sebe i svijet u kojem \u017eivimo. Emitiranje vlastitih \u017eivota na mre\u017eama uklju\u010duje i svakodnevno eksterioriziranje emocija na tehni\u010dke posrednike tre\u0107eg stepena kako ih naziva Jensen (prema Bogdani\u0107 2013). Ispoljavanje emocionalnih do\u017eivljaja \u010ditamo svakodnevno na dru\u0161tvenim mre\u017eama, ali one postaju i sastavni dio korisni\u010dkih sadr\u017eaja ispod redovnih medijskih tekstova na web portalima. Ove, takozvane, intelektualne tehnologije, preuzimaju esencijalne ljudske osobine poput racionalnosti, memorije, ra\u010dunanja, prevo\u0111enja, ali i osobine poput emocionalnosti i komunikativnosti (Carr 2014, Turkle 2010).<\/em><\/p>\n

              <\/span><\/p>\n


        \nGdje \u017eive emocije kada ih prenesemo u virtuelno i kako postaju sastavni dio medijskih sadr\u017eaj? Gdje \u017eivi \u010dovjekova du\u0161a prenesena u njegov virtuelni self? \u2013 pitanja su na koja \u0107emo tra\u017eiti odgovore u prvom dijelu ovoga rada. <\/em><\/p>\n

              <\/span><\/p>\n


        \nAnalizirat \u0107emo virtuelni prostor, njegove mogu\u0107nosti i ograni\u010denja. Diskutirat \u0107emo o potencijalu mre\u017enih medija za posredovanje emocionalnih do\u017eivljaja. Tragat \u0107emo i za razumijevanjem tehnologije i ure\u0111aja kao alternativne ljudskosti, onda kada zaka\u017ee ili ne \u017eeli djelovati \u010dovjek sam. Poku\u0161at \u0107emo na\u0107i odgovore na pitanja o posljedicama takvog posredovanja, referiraju\u0107i se na istr\u017eivanja drugih autora poput Sive Vaidhyanathana, Shery Turkle, Nicholasa Carra i drugih.<\/em><\/p>\n

              <\/span><\/p>\n


        \nPosljednji dio rada analizirat \u0107e knji\u017eevne analize medijskog posredovanja koje se sporadi\u010dno pojavljuju u djelima svjetskih pisaca (Ru\u017edi, Igo, Mehmedinovi\u0107, Sabato, Spengler…) i interakciju njihovog razumijevanja medija s McLuhanovim vi\u0111enjem medijskog posredovanja i produ\u017eavanja\/saka\u0107enja \u010dula.
        \n<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> emocija, digitalna du\u0161a, mediji, medijsko posredovanje, mre\u017eno doba, virtuelni prostor.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#8 2022<\/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

        DOI 10.46640\/imr.11.20.8<\/a>
        \n UDK 304.3:614.44*Covid-19
        \n Pregledni \u010dlanak
        \n Review article
        \n Primljeno: 24.01.2022.<\/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
        \n fsuran@unipu.hr\n<\/p>\n

        S one strane znanosti: koronavirus kao
        \ndru\u0161tvena \u010dinjenica i problem moderne.<\/p>\n

        (Utjecaj pandemije na svakodnevni \u017eivot).<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (687 KB), Hrvatski, Str. 3363 – 3382
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Zna\u010dajna nemo\u0107 znanosti i protuslovlja pokrenuta od strane koronavirusa dovela je svijet do krize koja u svojoj sveop\u0107osti ujedinjuje i otkriva nejednakosti predla\u017eu\u0107i novo razmatranje ideje modernosti i uloge dru\u0161tvenih znanosti. Zapravo, raznovrsne su sociolo\u0161ke to\u010dke pristupa epidemiji. Kao na primjer: prekid rituala koji definiraju redoslijed socijalne interakcije zbog prakse distanciranja; \u0161irenje osje\u0107aja kolektivnog straha (moral panics) posredstvom medija i institucija koji svoj razlog ima u potrebi kolektivnog prihva\u0107anja velike po\u017ertvovnosti na individualnoj razini u vezi odnosa tro\u0161kova\/koristi; struktura i gusto\u0107i dru\u0161tvenih mre\u017ea kao prediktoru \u0161irenja zaraze. Izlaganje nudi samo neka kriti\u010dna osvrtanja utemeljena na dijalektici da bi pravovaljano odgovorilo na situaciju neprekidne napetosti izme\u0111u na\u010dela jedinstva i podjela oko kojih se dru\u0161tveni svijet, zbog svoje fluidnosti neprestano preure\u0111uje. Zasnivaju\u0107i se dakle na logici dru\u0161tvenog poretka koja podrazumijeva da se svaka tematika, doga\u0111aj ili situacija mo\u017ee razumjeti kao privremena to\u010dka ravnote\u017ee izme\u0111u kohezivne i disperzivne dru\u0161tvene dinamike.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> pandemija, pandemencija, lockdown, smart working, communing, modernost, sociolo\u0161ka imaginacija.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        Mogu\u0107e je da u kameno doba epidemija nije bilo. Ali ono \u0161to je sigurno, \u010dinjenica je da su sve u\u010destaliji i intenzivniji me\u0111uljudski odnosi neminovno doveli do sve ve\u0107eg \u0161irenja zaraznih bolesti me\u0111u ljudskim grupama i to sve ve\u0107om brzinom i silinom. No, ovdje pa\u017enju ne\u0107emo usredoto\u010diti na njihovu difuziju jer to iziskuje vi\u0161e vremena i prostora, zato o tome sad samo ukratko.<\/p>\n

        Kao u svim fazama povijesnih katastrofa i neovisno o tome radi li se o politi\u010dkim revolucijama, prirodnim uni\u0161tenjima raznoraznih vrsta i podvrsta, razornim ratovima, dubokim dru\u0161tvenim previranjima ili ekonomsko financijskim slomovima, suvremena globalna rasprostranjenost pandemije Covid-19 od svojeg pojavljivanja predstavlja izvanredan inkubator raznoraznih znanstvenih i pseudoznanstvenih teorija, ali i konspirativnih fantazija za koje je internetska mre\u017ea – posebno pohlepna za takvim sadr\u017eajem \u2013 od samog pojavljivanja fenomena preuzela inicijativu \u0161irenja i akreditiranja istoga oblikuju\u0107i ga na raznolike na\u010dine.<\/p>\n

        Me\u0111utim, treba napomenuti da \u0161to se ti\u010de na\u0161e epohe to nije prvi slu\u010daj kojem se pristupilo na sli\u010dan i jednako intenzivan na\u010din. Tu se misli na napad na Twin Towers <\/em>11. rujna 2001. Radilo se o doga\u0111aju koji je izazvao mno\u0161tvo ne samo racionalnih ve\u0107 i neracionalnih tuma\u010denja i naga\u0111anja koja su zbog izuzetnosti i nevjerice kod prosje\u010dnog zapadnog pojedinca poprimala sve vi\u0161e osobine podmuklih zavjera dugog \u017eivota. Ona su i danas \u0161iroko rasprostranjena, i to u ve\u0107ini slu\u010dajeva s naglaskom na negiranje \u010dinjenica koje su zbog same o\u010ditosti stvari smatrane la\u017enim, tj. da se jednostavno radilo o teroristi\u010dkom napadu planiranom i izvedenom od strane najekstremnijeg islamskog fanatizma.<\/p>\n

        Iz tog primjera, izostavljaju\u0107i za sada druge, mogu\u0107e je pretpostaviti da su ciljevi dana\u0161njih teorija zavjere o virusima tipi\u010dni za ovaj osebujan pristup povijesti i stvarnosti. Rije\u010d je o sociolo\u0161kom fenomenu koji se u suvremenoj kulturi Zapada ne pojavljuje samo kao narativni \u017eanr ve\u0107 i kao inspirativni i cvjetaju\u0107i oblik uredni\u010dke industrije, i to u vidu obja\u0161njenja (to\u010dnije: okrivljenja) – mimo istina koje pru\u017eaju vlade, njima podre\u0111eni znanstvenici i ve\u0107inski dio medijskog sustava – sumnjivih i ne ba\u0161 vjerodostojnih istina, budu\u0107i da dolaze iz slu\u017ebenih izvora. Pravi uzroci fenomena ili doga\u0111aja predodre\u0111eni su da ostanu skriveni i dostupni samo vrlo ograni\u010denim krugovima: Kennedyievo ubojstvo, fenomen lete\u0107ih tanjura ili NLO-a, itd.<\/p>\n

        Me\u0111utim ni to nije dovoljno. Glavni cilj teoreti\u010dara zavjera u liku samoizabranih \u010duvara istine i demokracije je skrenuti pozornost javnosti na slo\u017eenu mre\u017eu interesa i suu\u010desni\u0161tva, okultnih manevara i popre\u010dnih saveza koji se nalaze skriveni iza onih la\u017enih iako razlo\u017enih o\u010ditovanja koja se obi\u010dnom pojedincu ‘prodaju’ kao neprikosnovene \u010dinjenice. Naime, kako oni tvrde, ne radi se o ‘Istinama’ koje nije mogu\u0107e objasniti samo posredstvom jedne, za Zapadnog pojedinca – odgojenog na ideji nezaustavljiva znanstvenotehnolo\u0161kog progresa – neuobi\u010dajene zdravstvene krize s kojom se ne samo Zapadni svijet suo\u010dava, koliko o (ako ne i prete\u017eito, u perspektivi) neograni\u010denom me\u0111usobnom nametanju raznoraznih skrivenih mo\u0107i za svjetsku premo\u0107 ili prozai\u010dnije, za posjedovanjem sve ve\u0107eg utjecaja i kontrole na ‘svijet sutra\u0161njice’ – u ovom slu\u010daju u vidu biolo\u0161kog rata posredstvom konstruiranog virusa kao i uz podr\u0161ku razli\u010ditih ve\u0107 unaprijed pripremljenih strategija za njegovo suzbijanje kada za to do\u0111e vrijeme. Kako tvrde teoreti\u010dari zavjere radi se naime o tajno usvojenim planovima nekoliko suverenih dr\u017eava, multinacionalnih farmaceutskih kompanija, obavje\u0161tajnih agencija, IT divova i telekomunikacija, transnacionalnih kriminalnih skupina, tajnih dru\u0161tva najrazli\u010ditije inspiracije, financijskih lobija, humanitarnih organizacija i privatnih zaklada financiranih od strane ovog ili onog multimilijardera, vojno industrijskih nacionalnih kompleksa itd., itd.<\/p>\n

        U stvari tu se radi o iskrivljenom rezoniranju nekolicine \u0161to je dovelo, kako u pro\u0161losti tako i danas a najvjerojatnije \u0107e i ubudu\u0107e, do nastajanja najrazli\u010ditijih hipoteza i tuma\u010denja. Tako na primjer jedna od najekstremnijih verzija tvrdi da su \u0161irenje virusa i sam pandemijski alarm vje\u0161to proizvedeni i to s ciljem provedbe sna\u017enog eksperimenta dru\u0161tvenog in\u017eenjeringa. Radi se naime o zatvaranju milijuna gra\u0111ana u njihove domove uporabom straha od zaraze, \u0161to slu\u017ei kao nagovje\u0161taj onoga \u0161to se namjerava uraditi da bi globalni poredak poprimio odre\u0111ene konture razvoja u budu\u0107nosti. To je neka vrsta distopije u vidu dru\u0161tva kojim upravlja kruta kolektivna disciplina podvrgnuta policiji i tehnolo\u0161koj kontroli, paternalisti\u010dki upravljana od strane novog sloja (new class<\/em>) znanstvenika tehnokrata odvojenih od bilo kojeg narodnog ili demokratskog legitimiteta. Da je to ne samo mogu\u0107e ve\u0107 i realno, vidljivo je, tvrde oni, jer posljednjih mjeseci svjedo\u010dimo \u010dinjenici da politika prilago\u0111ava svoje odluke obvezuju\u0107im propisima virologa i epidemiologa i to mimo volje naroda \u0161to bi samo po trebalo biti sumnjivo. Ni\u0161ta manje alarmantna nije niti teorija da je ova pandemija neovisno o tome kako je izazvana prigoda koju je nekolicina divova u sektoru Big Data s nestrpljenjem \u010dekala da bi se napokon utvrdili kao pravi gospodari svijeta.<\/p>\n

        Ako se politika donedavno jo\u0161 uvijek zavaravala da name\u0107e pravila i zabrane u vezi s na\u010dinom na koji se prikuplja i upravlja informacijama (uklju\u010duju\u0107i i one privatne) koje se odnose na milijarde ljudi, suvremena zdravstvena situacija je tu ambiciju vladavine prava koja je donekle ve\u0107 bila na zalazu potpuno zakopala, izbrisala, jer \u010dinjenica da su se podaci u njihovim ra\u010dunalnim bankama pokazali kao temeljni alati za rje\u0161avanje pandemije s epidemiolo\u0161kog stajali\u0161ta (na primjer putem udaljenog digitalnog pra\u0107enja), dramati\u010dno je pove\u0107ala pregovara\u010dke sposobnosti High-Tech korporacija ne samo prema vladama ve\u0107 i prema raznim me\u0111unarodnim institucijama. Naime, njihova snaga koja je s financijskog i tehnolo\u0161kog aspekta ve\u0107 do tada bila ogromna, sada je poprimila i politi\u010dki ‘format’ i to u svakom svom pogledu.<\/p>\n

        Osim toga, postoje i oni koji u utrci dr\u017eava, tvrtki i istra\u017eiva\u010dkih institucija (kako privatnih, tako i javnih) u otkrivanju cjepiva vide cilj koji nije toliko ostvarivanje velikog znanstvenog otkri\u0107a ve\u0107 i ostvarivanje goleme zarade kao i stjecanje globalne mo\u0107i, toliko velike da \u0107e uskoro biti u stanju relevantno utjecati i na me\u0111unarodnoj svjetskoj sceni. Prema nekima, mo\u0107 koju su pridobili oni koji imaju kontrolu nad distribucijom cjepiva ista je onoj koju imaju dr\u017eave koje posjeduju nuklearno oru\u017eje. To \u0107e im u skoroj budu\u0107nosti omogu\u0107iti da diktiraju pravila igre ostatku svijeta. Ali \u0161to ako je taj ‘netko’ neka multinacionalna kompanija ili neki milijarder preru\u0161en u filantropa?\u00a0 <\/p>\n

        Kona\u010dno, na razini dru\u0161tvene psihologije, okultni cilj kojeg teoreti\u010dari zavjere smatraju da je je pravi ulog ove, za neke \u010dudne <\/em>i ne sasvim slu\u010dajne a za druge o\u010dekivane i uvelike predvidljive pandemije – predodre\u0111ene postati konstantom i to uz prijetnju bolesti koje je (potencijalno) u stanju istrijebiti veliki dio \u010dovje\u010danstva – ukrotiti <\/em>svjetsku populaciju. Naime, pojedinci upla\u0161eni od sablasti smrti i u stalnom stanju uzbune bit \u0107e po samoj definiciji stvari poslu\u0161niji i podlo\u017eniji bilo kojoj mo\u0107i (\u010dak i takozvanih liberalnih demokracija) omogu\u0107uju\u0107i joj da u budu\u0107nosti opravda svaku zlouporabu ili odstupanje od op\u0107e prihva\u0107enih pravila ljudskosti – uklju\u010duju\u0107i suspenziju zakona i temeljnih sloboda \u2013 u ime kako individualnog, tako i javnog zdravlja.<\/p>\n

        U vezi ovih naga\u0111anja koja, iako polaze od zabrinutosti i pitanja koja su uvelike stvarna i motivirana te u kona\u010dnici poprimaju obli\u010dja ne\u010dega \u0161to je oduvijek bio i jest polemi\u010dki argument teoreti\u010dara zavjera: Svjetske vlade Iluminata, Univerzalne diktature Izabranih, globalnog Big Governmenta<\/em>, sna\u017eno je isku\u0161enje da se odgovori skepti\u010dnim, ako ne i podrugljivim stavom. Pri tome treba imati u vidu teorije poput primjerice onih koje \u0161irenje virusa pripisuju slabljenju imunolo\u0161kog sustava uzrokovanog novim standardom prijenosa podataka 5G, businessa notorno kontroliranog od neke fantomske pseudomasonerije i to u suradnji tko zna s kojim jo\u0161 okultnijim sredi\u0161tima mo\u0107i. Naime, \u0161to je drugo urota, osobito kad poprima ove ekstremne i gotovo folklorne oblike, nego uvreda za zdrav razum i \u010dovjekovu kriti\u010dku sposobnost? Ili u bla\u017eem obliku, neka vrsta stripfilozofije povijesti ili vizije stripdru\u0161tva? No takvo odbijanje obilje\u017eeno tipi\u010dno prosvjetiteljskim intelektualnim prezirom, koliko god razumljivo nije dovoljno da bi se shvatila neka pitanja koja je bave\u0107i se zavjerom nemogu\u0107e izbje\u0107i. Razlog tome? To je zato \u0161to su teorije koje inspirira ozbiljno shva\u0107ene od velikog broja ljudi koji na temelju tih uvjerenja usmjeravaju vlastiti svakodnevni \u017eivot, svoja politi\u010dka tuma\u010denja i izborno pona\u0161anje, postaju\u0107i aktivni na nivou protuinformacija \u0161ire\u0107i njihov utjecaj na taj na\u010din.<\/p>\n

        Radi li se tu samo o masovnom neznanju, o prirodnoj tendenciji da se prihvate i najapsurdnija ma\u0161tanja ili o mentalnom sklopu naslije\u0111enom u djetinjstvu i sastavljenom od nevidljivih \u010dudovi\u0161ta, tajnih sila i zlih \u010darobnjaka koje neki u sebi nose nesvjesno i kad odrastu? Potrebno je tako\u0111er shvatiti koji su to mehanizmi – psiholo\u0161ki, intelektualni ili dru\u0161tveni – koji osobito u odre\u0111enim konvulzivnim (beznadnim) povijesnim trenucima favoriziraju ra\u0111anje i stvaranje takvih teorija sa svojom \u010dudnom i dobro prepoznatljivom mje\u0161avinom kulture trajnih sumnji, pseudoznanosti vjerodostojnih argumenata, progonske \u017ertvovanosti na\u0161e grupe, sposobnosti pretvaranja slu\u010dajnosti u \u010dinjenice i dokaze.<\/p>\n

        Nekima je sve to o\u010dito, osobito danas posredstvom aktivizma dru\u0161tvenih medija i njihove umna\u017eaju\u0107e mo\u0107i informiranja, naro\u010dito u ‘pretjerivanju’ i u o\u017eivljavanju osjetila kao u dobro organiziranoj diverzantskoj propagandi finaliziranoj na stvaranju svakojakih zabuna. Stoga se zavjera pojavljuje kao oblik namjerne manipulacije stvarno\u0161\u0107u, kao na\u010din zaga\u0111enja javne sfere uvo\u0111enjem izmi\u0161ljenih \u010dinjenica, upe\u010datljivih i neprovjerljivih vijesti, takozvanih alternativnih tuma\u010denja ovog ili onog tipa doga\u0111aja, sa svrhom namjernog dezinformiranja radi pove\u0107anja dru\u0161tvenog kaosa, bacanja blata na neprijatelje da bi se od sebe otjeralo sve sumnje. To postaje o\u010dito kada na primjer velike sile (Rusija ili Kina ili SAD, ili …) osu\u0111uju kori\u0161tenje la\u017enih vijesti (fake news<\/em>) prikazuju\u0107i ih kao sredstvo Informacijskog rata (Information Warfare<\/em> ili InfoWar): u liku propagandne tehnike koja koristi trend <\/em>senzacionalizma koji vlada glavnim medijskim sustavom. Unutar tog sistema bilo koja dobro plasirana la\u017ena vijest postaje vjerodostojna kada dospijeva do publike koja ju prepoznaje te prihva\u0107a i tuma\u010di kao istinitu. Osobina takvog razmi\u0161ljanja je u tome da se zavjera tuma\u010di zavjerom, u smislu da bi oni koji na mre\u017ei vje\u0161to \u0161ire ‘hipoteze zavjere’ bili pravi zavjerenici, \u0161to je neka vrsta igre ogledala unutar koje je rizik izgubiti se. Naime, manipulativna uporaba la\u017enih vijesti kao i bizarnih i ma\u0161tovitih obja\u0161njenja njihovih pozadina \u0161to predstavlja zabrinjavaju\u0107u stvarnost suvremenih dru\u0161tva, ne isklju\u010duje \u010dinjenicu da teorije zavjere mogu djelovati i odozdo prema gore: ra\u0111aju se spontano kao odgovor na stvarnu potrebu za znanjem. Za \u010dovjeka je te\u0161ko podnijeti takav kognitivni vakuum u vezi onoga \u0161to se doga\u0111a oko njega jer potrebuje neko racionalno obja\u0161njenje koje daje dojam da je mentalno ovladao stvarno\u0161\u0107u; neku vrsta interpretativnog klju\u010da o stvarnom svijetu za kojeg su mnogi – bez ikakve potrebe da budu odozgo indoktrinirani ili zavedeni propagandom \u2013 uvjereni da je najautenti\u010dniji i najistinitiji zato jer nudi jednostavno i izravno uzro\u010dno-posljedi\u010dno tuma\u010denje slo\u017eenih i ina\u010de neobja\u0161njivih \u010dinjenica. Pritom uop\u0107e ne sumnjaju da je mo\u017eda to tuma\u010denje jedan vid racionalizacije ve\u0107 postoje\u0107ih i ukorijenjenih preduvjerenja, prosudbi i fantazija. <\/p>\n

        Radi se o mentalnom i psiholo\u0161kom mehanizmu kolektivnih uvjerenja i stanja raspolo\u017eenja koji osvjedo\u010duje Marc Bloch kada opisuje kolektivno djelovanje la\u017ene vijesti me\u0111u vojnicima za vrijeme Prvog svjetskog rata. Taj mentalni sklop uvijek nastaje, ka\u017ee Marc Bloch, “iz kolektivnih pogleda koji postoje i prije njezinog pojavljivanja; ona je samo naizgled slu\u010dajna, sve \u0161to je u njoj slu\u010dajno je po\u010detni doga\u0111aj\/incident, apsolutno bezna\u010dajan, koji pokre\u0107e rad ma\u0161te; ali to se pokretanje doga\u0111a samo zato \u0161to su ma\u0161te ve\u0107 pripremljene i u tihom vrenju, [\u2026] la\u017ena vijest ogledalo je u kojem ‘kolektivna savjest’ promatra vlastita obilje\u017eja<\/em>”<\/a>[224<\/strong><\/span>]<\/sup><\/a>. To govori da se kroz zavjeru umno\u017eavaju duhovi, dakle strahovi i predrasude koje \u010dovjek ve\u0107 nosi u sebi, u svom umu.<\/p>\n

        Ostaju\u0107i u okviru te Blochove misli postaje jasno kada i kako ‘depresivni um u umornom tijelu’ \u2013 \u0161to oslikava dio \u010dovje\u010danstva u vremenu Covid -19 \u2013 mo\u017ee postati lak plijen emocija, jer zbog razo\u010daranja postaje nesklon vje\u017ebanju vlastite kriti\u010dke misli i stoga spreman vjerovati u svaku dobro zapakiranu ili izgledno uvjerljivu besmislicu.<\/a>[225<\/strong><\/span>]<\/sup><\/a><\/p>\n

         <\/p>\n

        Urota kao bijeg od stvarnosti<\/em><\/strong><\/p>\n

        Tako se dolazi do nekoliko temeljnih upita: \u0160to je to \u0161to samo po sebi obja\u0161njava mentalitet zavjere? Za\u0161to ta vizija zavjere \u2013 koja u normalno vrijeme ima osobine ‘opasne zabave’ za nekolicinu dru\u0161tveno grani\u010dnih skupina ili ma\u0161tovitih i emocionalno nestabilnih pojedinaca koji su kao takvi usmjereni na lov na duhove (misli se tu na manjinske grupe i na devijantne osobe koje svojom paranojom \u010desto izazivaju tragedije, provode progone i \u010dine zlo\u010dine) \u2013 ima danas sve osobine opasne masovne pojave? Na kraju ali ne i zadnje, koliko i na koje sve na\u010dine pandemija globalnih razmjera mo\u017ee doprinijeti njezinom daljnjem \u0161irenju i ukorjenjivanju? <\/p>\n

        Da bi to barem donekle shvatili treba po\u0107i od stajali\u0161ta (ili, ako \u017eelite, \u010dinjenica) da je zavjera oblik dru\u0161tvene imaginacije koja u svim svojim razli\u010ditim oblicima manifestacija uvijek oscilira izme\u0111u demonologije (zlo pokre\u0107e povijest) i apokalipse (kraj povijesti kao stvarna mogu\u0107nost). Eksplicitno: izme\u0111u ideje da nekoliko mo\u0107nih i zlih bi\u0107a (inkarnacija Antikrista) iz tame spletkari da bi nametnula svoju vlast nad svijetom i ideje da \u0107e \u010dovje\u010danstvo ubrzo biti pozvano da odgovara za svoje grijehe i to sve u nadi o nekakvom nebeskom otkupljenju ili obliku spasenja (naravno, rezerviranom samo za \u010diste, pravedne i nevine). Radi se dakle o uvjerenjima koja nisu novijeg datuma jer svoju osnovu naveliko crpe iz narodnih tradicija<\/a>[226<\/strong><\/span>]<\/sup><\/a>, koje su se u ve\u0107ini slu\u010dajeva konsolidirale u srednjem vijeku. Radi se, ne zaboravljaju\u0107i pritom i sugestibilnost masa, o vizijama<\/em> koje su potaknute pseudoteolo\u0161kim naga\u0111anjima uobli\u010denim u tisu\u0107ljetnom kalupu dru\u0161tvenih predrasuda tipi\u010dnom za zatvorena i zaostala dru\u0161tva podlo\u017ena velikim valovima straha izazvanim ratovima i po\u0161asti, uvijek u potrazi za \u017ertvenim janjetom na kojeg \u0107e navu\u0107i sve neda\u0107e svijeta. Vjerovalo se da ti fenomeni pripadaju nekim drugim vremenima, me\u0111utim usprkos racionalizmu moderne koji je na mase utjecao samo povr\u0161no, podrugljivo i neadekvatno, ta uvjerenja nastavljaju \u017eivjeti i danas u svom podzemnom obliku u vidu kolektivnog sje\u0107anja ili predod\u017ebe koja je kada se pru\u017ei prilika za ponovno pojavljivanje straha od kraja<\/em> uvijek spremna i to neovisno o tome da li se radi(lo) o oru\u017eanom sukobu ili prirodnoj katastrofi koja kao takva prevladava odre\u0111enom tipologijom pojedinaca i dru\u0161tava. <\/p>\n

        Ali ono \u0161to mnogi mislioci, a tu se naro\u010dito misli na povjesni\u010dare, filozofe i sociologe, ne uvi\u0111aju, ili ne \u017eele, ili ne mogu re\u0107i je da je taj paranoi\u010dni pogled na \u017eivot uvr\u0161ten, ukorijenjen, racionalno oblikovan u svakom, ponavljam svakom nacionalizmu kao ideologija koja se odr\u017eava i \u0161iri posredstvom odgojno obrazovnih institucija \u010dija je pedago\u0161ka uloga usmjeriti (vlastite) \u0161kolarce prema obrani (zdravih) nacionalnih interesa. Naime, radi se o mlade\u017ei koja zbog umne otvorenosti ne uvi\u0111a da je korijen njenog egzistencijalisti\u010dkog straha naspram nesigurnosti sutra\u0161njice u liku obrane nacionalnih interesa podsvjesni, i da zahvaljuju\u0107i (nacionalisti\u010dki) usmjerenom odgoju lako mo\u017ee, naro\u010dito u trenucima bezna\u0111a, poprimiti i druge oblike eksplikacije nasuprot induciranom putu razvoja i eksplikacije posredstvom liberalno usmjerenog odgoja i obrazovanja.<\/p>\n

        Da bi to donekle i shvatili dovoljno je prisjetiti se u moderno doba najmo\u0107nijeg i najra\u0161irenijeg mita o zavjeri. Radi se o ‘mitu’ koji je ‘znanstveno’ konstruiran i postao dijelom nacionalnog usmjerenog odgoja i obrazovanja. Radi se o takozvanoj ‘\u017eidovskoj tajnoj vladi’ poznatoj i kao\u00a0 Sionski priorat<\/em><\/a>[227<\/strong><\/span>]<\/sup><\/a>, koja je svoj tragi\u010dni vrhunac dostigla u dvadesetom stolje\u0107u proizvode\u0107i istrebljenje milijuna ljudi. Tome je doprinijela i tisu\u0107ljetna demonolo\u0161ka tradicija, koja je ve\u0107 u 13.-14. stolje\u0107u u \u017didovima prepoznavala Sotonine Sinove<\/em> ujedinjene planom da nadvladaju i dominiraju kr\u0161\u0107anskim narodom, \u0161to je dovelo do toga da ih se smatra apsolutnim, lukavim, pa \u010dak i nevidljivim neprijateljem, upravo kakvim se danas smatra Covid-19.\u00a0 <\/p>\n

        Problem je da je taj uvrnuti i iracionalni imaginarij, iz o\u010diglednih razloga o\u010di\u0161\u0107en od svakog eksplicitnog pozivanja na antisemitizam danas pretvoren u narativno-spektakularnu radnju koju su formirali sotonski zemaljski agenti ili \u010dak sam Sotona; ali i bi\u0107a koja potje\u010du iz podzemlja ili iz izvanzemaljskog prostora; tajne sekte sposobne za bilo kakvu makinaciju; in exstremis<\/em> spasitelji \u010dovje\u010danstva; nerazlu\u010dive ili nevidljive mra\u010dne mo\u0107i kao i iz svi mogu\u0107i scenariji ‘smaka svijeta’. To se prikazuje u vidu invazija vanzemaljaca, virusa ili istrebljenja bakterijama, utjecaja asteroida na planetu Zemlju, katastrofalnog porasta mora, nuklearne nesre\u0107e uzrokovanom ljudskom gre\u0161kom ili ludim znanstvenikom, novog doba glacijacije, klimatskog kolapsa, pobune protiv vladaju\u0107ih tehni\u010dara, povrataka mrtvih ili zombija iz grobova itd. <\/p>\n

        Kao \u0161to smo ve\u0107 spomenuli taj imaginarij koji je u suvremeno doba do te mjere kultiviran od strane kinematografije, popularne knji\u017eevnosti, svijeta stripova i televizijskih serijala da se za odre\u0111enu tipologiju pojedinaca (umno retardiranih ili misaono nekriti\u010dnih) pretvorio u \u010dinjeni\u010dno stanje stvari pro\u017eimaju\u0107i masovni mentalitet, \u010dini da svatko od nas u sebi posjeduje sve osobine zavjerenika ili je pod odre\u0111enim utjecajem urote iako je toga nesvjestan (zbog \u010dega treba biti itekako kriti\u010dan) i \u010dija je temeljna osobina nerazlikovanja fikcije od stvarnosti. Dovoljno je prisjetiti se radiofonske emisije koju je vodio Orson Welles<\/a>[228<\/strong><\/span>]<\/sup><\/a> koji je \u010ditaju\u0107i odlomak H. G. Wellsovog romana Rat svjetova \/ The War of the Worlds<\/em><\/a>[229<\/strong><\/span>]<\/sup><\/a> bez da o tome obavijesti publiku, inicirao veliko pani\u010darenje kod mnogih pojedinaca koji su pratili emisiju. To je bilo i mogu\u0107e je jer kod mnogih je ukorijenjeno uvjerenje da je ma\u0161ta scenarista i pisaca tijesno povezana s predvi\u0111anjem stvarnosti; da je povijest samo odraz, s nekim zaka\u0161njenjem, onoga \u0161to smo sposobni zamisliti (\u0161to je bila i James Hilmanova misao u vezi uloge mita)<\/a>[230<\/strong><\/span>]<\/sup><\/a>. Zbog toga je razlo\u017eno zamisliti da se i pandemija Covid-19 dogodila prema metodologijama ‘zavjera’ ve\u0107 predvi\u0111enih u mnogim filmovima i sadr\u017eanih u mnogim apokalipti\u010dnim romanima \u0161to je me\u0111u ostalim posljedicama definitivno ukorijenilo i gore navedeno uvjerenje da je ma\u0161ta scenarista i pisaca jedno predvi\u0111anje stvarnosti, odnosno da je povijest samo odraz, s nekim zaka\u0161njenjem, onoga \u0161to je \u010dovjek sposoban zamisliti.<\/p>\n

        Dolazi se tako do pitanja: tko je odgovoran za takve katastrofe – podrazumijeva se zao i sa zlokobnim obilje\u017ejima – tko ih je prouzro\u010dio, planirao ili jednostavno sakrio njihove pogubne posljedice? Za\u0161to oni koji znaju istinu – oni rijetki odabrani koji su, poput proroka apokalipti\u010dne tradicije, kroz viziju ili snove primili otkrivenje misterija svijeta – tu istinu ne dijele s ostatkom svijeta?\u00a0 <\/p>\n

        Zavjereni\u0161tvo na svoj na\u010din poku\u0161ava odgovoriti na ta i sli\u010dna uznemiruju\u0107a pitanja i to posebice na sljede\u0107e: koje su sve oblike sposobne poprimiti i upotrijebiti demonske sile protiv kojih su ljudska bi\u0107a oduvijek bila prisiljena oduprijeti se za svoj spas i slobodu? <\/p>\n

        Unutar dimenzijskog tuma\u010denja stvarnosti, posljednja inkarnacija zla i posljednji scenarij apokalipse koja je ujedinila teoreti\u010dare zavjere cijelog svijeta zasigurno je Covid -19. Zar nije istina da je kineski predsjednik Xi Jinping, koji se dobro razumije u borbu protiv koronavirusa pozvao svoje sunarodnjake na ‘narodni rat protiv virusa’, kojeg trebaju voditi ‘ujedinjeni poput Velikog zida’, jer ‘epidemija je vrag i ne smijemo dopustiti da se vrag skriva’?<\/p>\n

        Na ovu kaoti\u010dnu i uznemiruju\u0107u povijesno-kulturnu pozadinu, koju je ultratehnolo\u0161ka i bogata postmodernost naslijedila od predmoderne, u kojoj dominiraju neznanje i bijeda, povezuju se i drugi elementi, vi\u0161e povezani s psiholo\u0161kom dimenzijom (kako individualnom tako i kolektivnom), doprinose\u0107i obja\u0161njenju za\u0161to je zavjera u modi. Zna se, na primjer, da svaka faza ubrzanja povijesti kada se svijet oko nas radikalno i iznenada promijeni izaziva ogromnu potrebu za spoznajom i sigurno\u0161\u0107u. <\/p>\n

        Upe\u010datljive povijesne doga\u0111aje koji \u010desto prodiru u na\u0161e postojanje na neo\u010dekivan i neuobi\u010dajen na\u010din nije nikada lako objasniti samo uporabom njihovih uzroka. I povjesni\u010darima i sociolozima te\u0161ko je shvatiti ih u svom vremenskom doga\u0111anju, a kamoli suvremenicima koji ih do\u017eivljavaju na vlastitoj ko\u017ei. Razlog tome je da oni izazivaju neo\u010dekivane preokrete – materijalne i duhovne, objektivne i subjektivne \u2013 koji se gotovo nikada ne de\u0161avaju prema nekom predvidljivom planu ili na nekoj racionalnoj osnovi, \u0161to u \u010dovjeka neminovno pove\u0107ava tjeskobu kao i osje\u0107aj bespomo\u0107nosti. Tuma\u010denja zavjere slu\u017ee upravo ovome: u svom iluzornom prikazivanju stvari daju nam uvjerenje da smo shvatili uzroke i podrijetlo pojave i epizode koji izmi\u010du uobi\u010dajenom razumijevanju i u \u010dijem razvoju na\u0161i pojedina\u010dni postupci nemaju nikakvu te\u017einu.<\/p>\n

        Radi se o aspektu koji nemalo doprinosi \u0161irenju zavjere: saznanje da se stvari doga\u0111aju bez da imamo ikakve mo\u0107i djelovanja \u0161to je ponekad i psiholo\u0161ki neodr\u017eivo jer od \u010dovjeka \u010dini pasivnog gledatelja kolektivne povijesti koja izmi\u010de svakoj odluci i uzro\u010dnoj inteligenciji. Drugim rije\u010dima, zavjera je tako\u0111er na\u010din povratnog posjedovanja povijesti i svijeta kao i bijega od osje\u0107aja bespomo\u0107nosti koji ina\u010de riskira da nas dovede u pasivni (i egzistencijalno nepodno\u0161ljivi) nihilizam.<\/p>\n

        Ono \u0161to nas donekle intelektualno mo\u017ee tje\u0161iti je dru\u0161tveno stati na strani onih koji su \u2013 jedna dobra manjina koja se bori protiv onih lo\u0161ih – shvatili kako se svijet zaista kre\u0107e.<\/p>\n

        Drugi uzrok koji obja\u0161njava suvremenu zavjeru odnosi se na ograni\u010denja objektivne i subjektivne naravi znanstvene spoznaje koja nije nikada do ove pandemijske krize promatrana na shizofreni\u010dan i kontradiktoran na\u010din: kao jedini izvor spasenja ali i uzrok svega zla. Bez obzira na postignuti napredak u svakom sektoru znanja – od medicine do fizike, od kozmologije do biologije – u prirodnom svijetu i dalje postoje sive zone i pojave za koje imamo previ\u0161e komplicirana obja\u0161njenja, te su kao takva te\u0161ko razumljiva za nestru\u010dnjake jer su znanstveno djelomi\u010dna ili nisu dovoljno uvjerljiva i eksplikativna. To je itekako postalo o\u010dito upravo u vezi virusa Covid-19. Do toga je do\u0161lo kada smo postali svjedoci \u010dinjenice da se stru\u010dnjaci pona\u0161aju kao da su alfa i omega na\u0161eg \u017eivota, i to usprkos unutarnjim protuslovljima u svjetskoj znanstvenoj zajednici; oklijevanju Svjetske zdravstvene organizacije; nedostatku objektivne i zajedni\u010dke vizije doga\u0111aja koje su u raznim zemljama svijeta i medicinska struka i ve\u0107ina znanstvenika pro\u017eivljavali poput eksperimenta bez presedana \u010diji je cilj bio pridobiti ve\u0107a saznanja. To je izazvalo vi\u0161e tjeskobe nego nade kod onih koji su kao obi\u010dni gra\u0111ani htjeli samo saznati kako se virus \u0161iri, koliko je smrtonosan, koje je najbolje cjepivo i koje su njegove nuspojave. Radilo se i radi se o pitanjima jednostavnim i ogromnim u isto vrijeme na koja nijedan stru\u010dnjak do sada nije dao siguran i kona\u010dan odgovor. Sa stajali\u0161ta znanstvene metode to nije nekakva novost ili problem, budu\u0107i da znanstvena spoznaja polazi od nepoznatog da bi stupnjevito i mukotrpno stigla do saznanja, \u0161to se uvijek odvija poku\u0161ajima i pogre\u0161kama (u laboratoriju ili na terenu) \u0161to je va\u017ee\u0107e sredstvo znanja. Problem je u tome \u0161to se takva metoda koja ne razmi\u0161lja o nepogre\u0161ivosti i ne nudi kona\u010dne i apsolutne odgovore kosi s popularnom slikom znanosti koja ju naprotiv smatra ne samo izvorom izvjesnosti, ve\u0107 ima i spasonosna o\u010dekivanja koja joj je moderna dodijelila. To zna\u010di da ukoliko odmah ne zadovoljava na\u0161u potrebu za sigurno\u0161\u0107u i sigurnim rje\u0161enjima, znanost riskira diskreditaciju ili certifikat nepouzdanosti, tim vi\u0161e ako je u pitanju vrhunsko dobro kao \u0161to je \u017eivot.<\/p>\n

        Dodajmo tome da svijet znanosti danas sve vi\u0161e ima elemente organiziranog mre\u017enog sustava svjetskih razmjera, specifi\u010dni jezik i posebne protokole prema kojima, da bi unato\u010d bilo kakvom zahtjevu nezavisnosti i autonomije razvila sve slo\u017eenija istra\u017eivanja mora djelovati u bliskoj sinergiji s politikom i ekonomsko-industrijskom mo\u0107i. To je dovelo do takve razine globalne me\u0111usobne povezanosti koja je znanost pretvorila u laku metu za one koji u tim ispreplitanjima izme\u0111u aparata i dru\u0161tvenih struktura ne vide neku funkcionalnu nu\u017enost ve\u0107 opasnu koncentraciju mo\u0107i. Oni ju vide kao jednu tako veliku konvergenciju interesa da se mo\u017ee itekako posumnjati da iza toga postoje i neke izopa\u010dene politi\u010dke svrhe.<\/p>\n

        Svatko od nas od znanosti o\u010dekuje blagostanje i spas, ali zbog znanstvenog sustava koji je sve vi\u0161e podlo\u017ean politi\u010dkim i ekonomskim pritiscima dovedeni smo do kolektivnog nepovjerenja u kojemu teoreti\u010dari zavjere nalaze razloge svog postojanja. Razlog koji vi\u0161e od drugih opravdava kulturu urote i njezinu zavidnu imaginativnu snagu je efektivno postojanje – u politi\u010dkoj praksi, u natjecateljskoj igri koja upravlja gospodarstvom i u sferi dru\u0161tvenih odnosa – okultnih makinacija i manevara, zasjenjenih zona ili rezerviranih ili tajnih podru\u010dja djelovanja, neprozirnih mehanizama i dvostrukih istina. Ukratko, zavjere su \u010dinjenica. <\/p>\n

        Me\u0111utim, problem koji teoreti\u010dari zavjere jednostavno ignoriraju je da sve to ima malo ili nimalo veze s vragom i njegovim preru\u0161avanjima, s apokalipsom ili dolaze\u0107im smakom svijeta i sa zlim djelovanjem protiv \u010dovje\u010danstva od strane neke tajne organizacije ili manjine gladne mo\u0107i (ju\u010der templari, masoni, \u017didovi i isusovci, a danas multimilijarderi iz Sillicon Valleya, gnostici, nositelji tajni ljudskog genoma, \u010duvari u laboratorijama bakteriolo\u0161kih oru\u017eja, gmazovi, pseudodobro\u010dinitelji \u010dovje\u010danstva koje profitiraju na tragedijama koje su sami proizveli, vije\u0107nici postljudskih u\u010denjaka, itd.).<\/p>\n

        To je u stvari tijesno povezano s izvornom moralnom nesavr\u0161eno\u0161\u0107u ljudi od krvi i mesa, s njihovim atavisti\u010dkim apetitima i \u017eeljama, s nepredvidljivo\u0161\u0107u povijesti koja \u010dini da svaki poku\u0161aj organiziranja planova za stolom poka\u017ee beskorisnim i sa \u010dinjenicom da se \u017eivi u dru\u0161tvima koja su po samoj sociolo\u0161koj definiciji nesavr\u0161ena i \u010desto nepravedna i da se ne odvija sve prema na\u0161im o\u010dekivanjima ili nadama. ‘Velika zavjera’ protiv \u010dovje\u010danstva i za svjetsku vlast koju svako toliko netko poku\u0161a ostvariti ustvari je filozofska floskula ili sme\u0107e, \u010dista knji\u017eevna zabava, ukoliko se ne radi o obi\u010dnoj paranoji preru\u0161enoj u politiku. <\/p>\n

        Tako ostaju zavjere, tajni planovi i slu\u010dajne izmi\u0161ljotine, odnosno pre\u010daci koje ljudi oduvijek koriste, koji osciliraju izme\u0111u o\u0161troumnosti i nasilja, izme\u0111u cinizma i \u017eelje za posjedovanjem kako bi zauzeli posebno mjesto u svijetu i to na \u0161tetu drugih. To dakle zna\u010di da smo u stvari problem mi a ne Vrag, koji se ovaj put (kakvog li vrhunskog lukavstva!) \u010dovje\u010danstvu pojavio u obliku mikroorganizma.<\/a>[231<\/strong><\/span>]<\/sup><\/a><\/p>\n

         <\/p>\n

        Pandemija i distopijsko-katastrofalne slike Zapada kao izvor dominantne znanstveno-tehnolo\u0161ke infodemije <\/em><\/strong><\/p>\n

        Ovo vrlo tu\u017eno doba virusa Covid-19 u koje je svijet potonuo \u0161to je donekle i zanimljivo, ima zna\u010dajnu komponentu ve\u0107 vi\u0111enog. Posebice je Zapad taj koji pre\u017eivljava pravu katastrofu vlastitih dru\u0161tvenih, ekonomskih i liberalno demokracijsko-politi\u010dkih struktura u znaku nekih medijskih formata koji su se zapravo vremenom formirali poput supstancijalnih suvremenih arhetipova.<\/p>\n

        Znanstveno-fantasti\u010dni strip Eternout <\/em>Hectora Germana Oesterhelda i Francisca Solana Lopeza, iz 1957.<\/a>[232<\/strong><\/span>]<\/sup><\/a> koji govori o invaziji vanzemaljaca zapo\u010dinje snje\u017enim pahuljicama koje, govore\u0107i o napretku, sadr\u017eavaju smrtonosni virus (u tom se slu\u010daju radilo o alegoriji nestabilne politi\u010dke situacije onog vremena u Latinskoj Americi podlo\u017enoj opetovanim autoritarnim zaokretima).<\/p>\n

        ‘Napravljeni smo od iste tvari kao i snovi’, re\u0107i \u0107e Shakespeareov \u010darobnjak Prospero u ‘Oluji’, \u0161to zna\u010di da se svako povijesno razdoblje ogledava u ogledalu vremena posredstvom ‘svoje’ knji\u017eevnosti i ‘svojih’ umjetni\u010dkih izraza. <\/p>\n

        Na isti na\u010din mi danas, unutar dimenzije koja je gotovo pedeset godina podlo\u017ena manifestacijama postmoderne kulture, sanjamo snove proizvedene od dominantne kulturne industrije i koji proizlaze iz procesa medijskog posredovanja. Naime, sa zna\u010dajnim dodatkom znanstvena je fantastika postala jedan od najprakti\u010dnijih \u017eanrova na Zapadu, i to od godina Hladnog rata nadalje, donose\u0107i kao miraz, zajedno sa sposobno\u0161\u0107u odra\u017eavanja sada\u0161njosti u svom ostvarenju \u010dak i \u010ditav niz ‘vizionarskih sposobnosti’. Stoga se \u010desto nalazimo u stanju budnog sanjarenja. To je neka vrsta no\u0107ne more naseljene Electric Sheep-om<\/em>, kao \u0161to stoji u samom naslovu znanstvenofantasti\u010dnog romana ameri\u010dkog knji\u017eevnika Philipa K. Dicka, Do Androids Dream of Electric Sheep?<\/em> (Sanjaju li androidi elektri\u010dne ovce?<\/em>)<\/a>[233<\/strong><\/span>]<\/sup><\/a>, majstora onog distopijskog pod\u017eanra znanstvene fantastike koji \u0107e tijekom \u0161ezdesetih godina pro\u0161log stolje\u0107a sna\u017eno restrukturirati imaginarni svijet koji se nalazi u osnovi zapleta filma Ridleyja Scotta, Blade Runner<\/em> (1982.).<\/a>[234<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Svojim romanom pisac je razvio niz serija sugestija i tjeskoba koje je filmska industrija u\u010dinkovito prenijela na veliko i malo platno: od filma Total Recall<\/em> (Potpuni opoziv<\/em> iz 1990.) Lenija Wisemana do Minority Report <\/em>(Specijalni izvje\u0161taj <\/strong><\/em>iz 2002.) Stevena Spielberga, od Paychecka<\/em> (Isplata<\/em> iz 2003.) Johna Wooa do A Scanner Darkly<\/em> (Replikant iz <\/em>2006.) Richarda Linklatera, od The Adjustement Bureau<\/em> (Nemogu\u0107i susret<\/em> iz 2011.) u re\u017eiji Georgea Nolfija, \u010dija se radnja temelji na kratkoj pri\u010di The Adjustement Team<\/em>, do televizijske serije The Man in the High Castle<\/em> (\u010covjek u visokom dvorcu<\/em> iz 2015.)<\/a>[235<\/strong><\/span>]<\/sup><\/a>, koja prikazuje distopijsku alternativnu povijest. <\/p>\n

        I ova se serija temelji u kroni\u010dnom<\/a>[236<\/strong><\/span>]<\/sup><\/a> (prema istoimenom romanu Philipa K. Dicka (iz 1962.), u\u00a0\u00a0 produkciji Ridleya Scotta, koji je ostao vrlo vezan za Dickov simboli\u010dki svemir nakon filma iz ranih 1980-ih u kojem su glumili Harrison Ford, Rutger Hauer i Sean Young, koji zapravo postaje poznat i kao vizualni manifest postmodernizma.<\/p>\n

        Uzastopno s uru\u0161avanjem barijera izme\u0111u stvarnosti i fikcije (i to uz utjecaj medija), me\u0111u brojnim strujama koje se isprepli\u0107u u dikovskoj naraciji ima i onih o uroti i zavjeri koje su zahvaljuju\u0107i paranoji i psihi\u010dkim tegobama ameri\u010dkog pripovjeda\u010da u njegovim su pri\u010dama dostigle najve\u0107i oblik sublimacije.<\/p>\n

        Teorije zavjere poklapaju se tako\u0111er s jednom od zna\u010dajnih struja knji\u017eevnog postmodernizma. Naime, 2000-te su godine pro\u017eete svojevrsnom ‘emocionalnom nestabilno\u0161\u0107u’ koja ima ne\u010deg patolo\u0161kog u sebi. Radi se o ‘ozra\u010dju’ koji se savr\u0161eno sla\u017ee sa zavjerom i na\u010dinom razmi\u0161ljanja o zavjerama o\u017eivljenim raznim proizvodima mainstream kulturne industrije, a posebice vrlo popularnim TV serijalima: od Mr. Robot <\/em>do Black Mirror<\/em>, od 24<\/em> do X-Files <\/em>i Homeland<\/em>, koje sa svojim pod\u017eanrovima nude vrlo uspje\u0161ne primjere evokacijske mo\u0107i ‘zavjereni\u010dkog sindroma’.<\/p>\n

        Moglo bi se re\u0107i da je Dickova ‘ideologija’ inspirirala svojevrsno ‘pokretanje’ kulturnog ‘uzvi\u0161enja’ zavjere kao i njezinu progresivnu integraciju unutar sve u\u010destalijeg mentaliteta. To \u0107e se kasnije pretvoriti u kultno usmjerenje koje \u0107e u narednih dvadeset godina zbog svojevrsne heterogeneze ciljeva dati vitalnost i dosljednost takozvanoj alt-right<\/em> desnici, a u antitezi pacifisti\u010dkih simpatija i slobodarske ljevice uvijek duboko negativno raspolo\u017eene prema republikanskoj desnici romanopisca znanstvene fantastike.<\/p>\n

        Treba re\u0107i da panika prema takvom ‘sustavu’ koji sve kontrolira i nesmetano nadzire, i koji je \u0161to se ti\u010de kulturnih i medijskih proizvoda preimenovan na raznorazne na\u010dine, od orvelovskog Velikog brata<\/em> do filmskog Matrixa<\/em>, mo\u017ee itekako dovesti do raznih konspirativnih paranoja.<\/p>\n

        Distopijska znanstvena fantastika dikovskih obilje\u017eja uspjela je knji\u017eevno kodificirati tematiku opsesivne kontrole mo\u0107i i to u fukoovskom filozofskom smislu, posti\u017eu\u0107i intelektualnu raspravu o dru\u0161tvu nadzora i o transparentnosti, koja se u ime izrazitog postmodernog protuslovlja ponekad poistovje\u0107uje s jednim od opravdanja i intelektualnih temelja prethodne sci-fi<\/em>.<\/p>\n

        U suvremenoj kolektivnoj ma\u0161ti prisutnost jednog neolevijatana koji u\u010dinkovito primjenjuje tehnolo\u0161ki nadzor proizlazi i od ‘dugoro\u010dnog’ i slojevitog ameri\u010dkog mentaliteta uspostavljenog na ideji da je u nadle\u017enosti slobodnog gra\u0111anina obraniti vlastitu autonomiju od neprestanog i invazivnog uplitanja dr\u017eave, i to u \u010dudnoj povezanosti izme\u0111u anarhoindividualizma i slobodarstva. Radi se o misaonoj konstrukciji koju je prikupila i prenijela distopijska knji\u017eevnost koje je Dick zasigurno predstavnik par excellence. To je na neki na\u010din omogu\u0107ilo i predvi\u0111anje suvremene epohe ‘diktature algoritma’ kao i unutar (bio)politike primjenu sve sofisticiranijih elemenata umjetne inteligencije osposobljene za ‘digitalno pra\u0107enje’ gra\u0111ana-bira\u010da kao i prediktivnu analizu koja mo\u017ee ne samo identificirati budu\u0107a glasa\u010dka pona\u0161anja, ve\u0107 pru\u017eiti i osnove za pra\u0107enje i najosnovnijih ljudskih pona\u0161anja i to sa zna\u010dajnim stupnjem vjerojatnosti<\/a>[237<\/strong><\/span>]<\/sup><\/a>, i koja u formatu dark side<\/em> verzije, osim temeljnih problema u vezi neuspjeha za\u0161tite privatnosti odre\u0111enih podataka izravno ulazi u nedopu\u0161tene ‘sfere’ kr\u0161enja ra\u010dunalne sigurnosti i integralne manipulacije. Odnosno, ‘digitalna psiho-politika’, kako ju filozof njema\u010dko-korejskog porijekla Byung-Chul Han naziva u svojoj knjizi Psicopolitica<\/em><\/a>[238<\/strong><\/span>]<\/sup><\/a>, odgovorna je za razli\u010dita iskrivljenja kojima svjedo\u010dimo u suvremenim demokratskim dru\u0161tvima, ponajvi\u0161e za ona proizvedena od strane privatnih subjekta: kao \u0161to je to bio slu\u010daj iz vremena George Orwellovog narativa.<\/p>\n

        Slutnja \u2013 jo\u0161 jedan klju\u010dni pojam Dickovog opusa \u2013 ‘tehnolo\u0161kog paternalizma’, u odre\u0111enim kontekstima s popratnom prijetnjom\u00a0 tehnototalitarizma, jedan je od najzna\u010dajnijih oblika distopijske znanstvene fantastike koji tako potvr\u0111uje, naro\u010dito ako se ima na umu eksponencijalnu rasprostranjenost kao tematiku i kao subjekt od osamdesetih godina naovamo, i definiciju Michelea Maffesolije o postmodernosti kao ‘sinergiji arhai\u010dnog i tehnolo\u0161kog razvoja’<\/a>[239<\/strong><\/span>]<\/sup><\/a>. To zna\u010di da u doba digitalnog pra\u0107enja i orvelovskog dru\u0161tvenog distanciranja<\/em> distopijske sugestije poprimaju zamaha evokativnom snagom jednog novog, modernog arhetipa.<\/a>[240<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Treba me\u0111utim istaknuti da u postmodernom kaosu sci-fi <\/em>distopije postoje razli\u010dite tendencije, a zasigurno jedna od najzna\u010dajnijih je ona o nadolaze\u0107em kraju svijeta, apokalipse koju je televizijska serijalnost uspjela ukorijeniti u vizijama publike putem iterativnosti koja identificira jednu od njenih strukturnih osobina<\/a>[241<\/strong><\/span>]<\/sup><\/a>, pru\u017eaju\u0107i svojevrsne viralne imaginarije<\/em> posredstvom njene sposobnosti \u0161irenja u transmedijskom i konvergentnom univerzumu postmodernog krajolika masovnih komunikacija i pop kulture. Ona se pak povezuje s pod\u017eanrom o kraju vremena, sa ‘zombi apokalipsom’ u vidu neminovnog preokreta civilizacije izazvanog epidemijom koja vodi do desetkovanja populacije i umno\u017eavanja \u017eivih mrtvaca<\/em>. Zombi je jedan od najpolisemi\u010dnijih i najpreoblikovanijih proizvoda vizija postpoliti\u010dkog<\/em> imaginarija dvadesetog stolje\u0107a i to prema kreativnim namjerama raznih autora koji ga koriste,<\/a>[242<\/strong><\/span>]<\/sup><\/a> polaze\u0107i od antikapitalisti\u010dkog i antikonzumeristi\u010dkog filma Georgea A. Romera, Night of the Living Dead<\/em> (No\u0107 \u017eivih mrtvaca<\/em>, 1968)<\/a>[243<\/strong><\/span>]<\/sup><\/a>, da bi do\u0161li do osvjedo\u010denja prirodnog stanja hobsovskog tipa u televizijskom serijalu The Walking Dead (<\/em>\u017divi mrtvaci, 2010)<\/a>[244<\/strong><\/span>]<\/sup><\/a>, me\u0111u kojima postoji podosta diferenciranih varijacija i deklinacija. Ono \u0161to ih ujedinjava je zaraza ali i definicija daljnjeg toposa straha koji je u stvari autenti\u010dni izvor postmoderne imaginacije koja uvelike djeluje posredstvom apokalipti\u010dnih prikaza.<\/p>\n

        Zombiji su tako\u0111er predvi\u0111anje jo\u0161 jedne tematike koja je iz razli\u010dite perspektive odraz doba virusa Covid-19. Radi se naime o kategoriji posthumanosti na koju nailazimo u pandemijskom re\u017eimu. Zombi politiku je na razini fantastike mogu\u0107e pripisati i op\u0107oj klimi biopoliti\u010dkog javnog mnijenja poput ovog u kojem se zbog korona virusom izazvane zdravstvene krize nalaze ljudska bi\u0107a. Zapravo, tematika \u017eivih mrtvaca mo\u017ee se slobodno pripisati kategoriji postljudskosti koja \u0107e od epidemijske krize zasigurno dobiti i niz daljnjih redefinicija unutar kulturne rasprave koja bi, na primjer, mogla zapo\u010deti oko nekih ideal-tipova, tehnoznanstvene derivacije uvedene unutar javnog mnijenja i zajedni\u010dkog jezika. Tu se naro\u010dito misli na termine poput ‘epidemiolo\u0161ke krivulje’ koja posjeduje sve osobine svojevrsne neometrike diktiraju\u0107i ubla\u017eavanje ili neograni\u010denja dnevnih i gospodarskih aktivnosti; ne zaboravljaju\u0107i pritom i tematike poput ustavnih prava i slobode koja s obzirom prethodnu krizu, onu gospodarsku iz 2011. godine sli\u010di ve\u0107 uobi\u010dajenom izrazu spread <\/em>koji je specijalisti\u010dke i tehni\u010dke naravi. Prisutan je i asimptomatski nositelj<\/em> Covid-19, koji bi se iako neodre\u0111enog tipa mogao odnositi na zna\u010dajan postotak populacije, koji se uzdigao do paradigme potencijalnog nesvjesnog nosioca<\/em>, \u0161to je od tih pojmovno neodre\u0111enih pojedinaca u\u010dinilo temelj nespretne i krajnje upitne (ako ne i zlobne) komunikacijske strategije bezobzirne krivnje kako bi tijekom ograni\u010davaju\u0107e i zamorne klauzure<\/em> odr\u017eali stabilno raspolo\u017eenje sveukupne populacije. Promatran kao osoba koju treba na uzoran na\u010din podvrgnuti Foucaultovom paru nadziranja i ka\u017enjavanja<\/em>, post\u010dovjek nije vi\u0161e samo cyborg cyberpunkovih serijala, ve\u0107 je na neki na\u010din i virus, u znaku jednog znati\u017eeljnog i devijantnog procesa subjektivizacije koja u svojoj najradikalnijoj i iracionalnoj verziji pro\u017eetoj new age sugestijama poistovje\u0107uju\u0107e Covid-19 sa svojevrsnim ‘indikatorom propasti’ kojeg je ranjena planeta ‘Gaia’ poslala svom krvniku u liku punishera<\/em>, imaginarnog lika stripova i TV serija da bi se napokon ‘osvetila’ zbog nekontroliranog demografskog rasta pu\u010danstva i posljedi\u010dnog zaga\u0111enja ekosustava. <\/p>\n

        Sve su to manifestacije i izrazi postmodernizma za kojeg su apokalipti\u010dne vizije jedan od temeljnih sastojaka, i koji se u posljednja tri desetlje\u0107a razvio i \u0161irio posredstvom svog glavnog ideologa filozofa Paula Virilia (1932.-2018.)<\/a>[245<\/strong><\/span>]<\/sup><\/a>. Naime, njegova se misao<\/a>[246<\/strong><\/span>]<\/sup><\/a> bavi pitanjem oko kojeg se u svojim raznim modulacijama vrti cijela postmoderna, to jest tehnolo\u0161kim razvojem. Radi se o problematici koja za Virilia predstavlja onu crvenu nit koja ga je dovela do analiza o utjecaju brzine u redefiniranju dru\u0161tva i do promi\u0161ljanja o katastrofama kao znakovima vremena, kao i do kategorije ‘stereostvarnosti’ i vidu pro\u0161irenja stvarnosti koje proizlazi iz udvostru\u010davanja iskustva izme\u0111u stvarnog i medijalnog. Radi se o razradi tematike prema kojoj je uvijek imao kriti\u010dni stav \u0161to ga je dovelo do izra\u017eavanja vrlo zabrinutih sudova o suvremenom razdoblju dromokracije<\/em> i turbokapitalizma<\/em>, \u0161to neminovno vodi do nestajanja umjetnosti i do epidemije ma\u0161tarenja<\/em>, kao i do sve ve\u0107e muzeifikacije svijeta kao posljedice nestanka stvarnosti. Tako\u0111er, dovodi i do vizija jednog pustog i dematerijaliziranog svijeta u skladu s katastrofizmom \u0161to proizlazi iz njegovog teoretiziranja nesre\u0107e kao neminovnog ishoda sve ubrzanijeg tehnolo\u0161kog napretka i neizbje\u017enog neuspjeha bezdu\u0161ne tehni\u010dke racionalnosti.<\/p>\n

        U stvari, radilo se o posljednjem elementu njegove meditacije koja se kretala prema dolaze\u0107im katastrofizmima<\/em> kao ‘neodisciplini’ koja je nu\u017eno proizlazila od dromologije<\/em> kao znanosti o brzini, manifestaciji par excellence<\/em> prethodne faze modernosti. Za njega je ‘ra\u010dunalna bomba’ u vidu uporaba Mre\u017ee u logici rata dovela do rastu\u0107e homologacije i bezizlazne kulturne kolonizacije kao i do novog kibernetskog rata, dok je ‘futurizam trenutka’ posvuda razasut gradskim ekranima ukinuo dubinu vremena i nametnuo dru\u0161tvenu kulturu apsolutne sada\u0161njosti (neku vrstu negativnog Carpe diem<\/em>) u vidu post moderne apokalipse.<\/a>[247<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Radi se o viziji koja je prona\u0161la plodno tlo u kulturnoj i ekonomskoj raspravi lijevo orijentiranih mislilaca i koja se tako\u0111er nalazi u osnovi takozvane kolapsologije<\/em>, pravca koji je zahvaljuju\u0107i svojoj ambiciji da razmotri budu\u0107nost nakon kolapsa podosta u skladu s dana\u0161njim mra\u010dnim vremenima. Za Virilia je katastrofa ona termoindustrijske civilizacije koja je i prema mi\u0161ljenju intelektualaca koji se bave ovom tematikom ve\u0107 uvelike operativna <\/a>[248<\/strong><\/span>]<\/sup><\/a>. Stoga, usred zdravstvene krize novog koronavirusa neminovno je upitati se: \u0161to jo\u0161, nakon \u010dinjeni\u010dnog stanja kojeg pre\u017eivljavamo na vlastitoj ko\u017ei, scenaristi i voditelji emisija mogu izmisliti da bi ponovno zadivili javnost, s obzirom na to da je stvarnost koju pre\u017eivljavamo na kraju nadma\u0161ila \u010dak i najneobuzdaniju ma\u0161tu?<\/p>\n

         <\/p>\n

        Zapadna kulturna civilizacije izme\u0111u pandemije i pandemencije<\/em><\/strong><\/p>\n

        Upit implicitno vodi i do povezanosti pandemije i pandemencije <\/em><\/strong>kao spoja koji uni\u0161tava suvremena zapadna demokratska dru\u0161tva<\/a>[249<\/strong><\/span>]<\/sup><\/a>: jedna implicira drugu. Budu\u0107i da je druga nuspojava nepoznatog i opasnog virusa, pojavljuje se kao na\u010din tuma\u010denja svojevrstan onima koji – pod utjecajem sve ra\u0161irenije infodemije koja u mnogo\u010demu upravlja razmi\u0161ljanjem i djelovanjem nekriti\u010dnih suvremenih pojedinca – bezrazlo\u017eno pori\u010du ili umanjuju opasnost pandemije Covid-19. Oni pak drugi, nepovjerljivi su i u\u017easnuti nevidljivom prijetnjom koju po svaku cijenu poku\u0161avaju objektivizirati u liku zavjere koju su izmislile tajanstvene sile kao alternativnu istinu onoj slu\u017ebenoj, ali nikako jasnu u svom obrazlo\u017eenju, i koja kao takva slu\u017ei odvra\u0107anju pozornosti od pravih uzroka koji su toliko evidentni koliko i uznemiruju\u0107i.<\/a>[250<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Ona glasi da prirodni tijek stvari mo\u017ee proizvesti viruse i bolesti koji su sposobni pokositi stanovni\u0161tvo bez obzira na stupanj industrijalizacije, razvoja i blagostanja jedne civilizacije. I to ne bi bilo prvi put u povijesti – od epidemije kuge petnaestog stolje\u0107a do one iz sedamnaestog stolje\u0107a, pa sve do ‘\u0161panjolske kuge’ ali i mnogih drugih zaraza o kojima nema traga u znanstvenim knjigama, \u0161to ne zna\u010di da nisu uzrokovale mnogo \u017ertava i u nama bli\u017eim vremenima (iako ne na dobrostoje\u0107em Zapadu). Pandementi ovog tipa u svom paranoi\u010dnom deliriju neprestano nije\u010du uznemiruju\u0107i nivo stvarnosti kako bi skrenuli pozornost na drugu razinu, koja je vi\u0161e pod nadzorom i kao takva je i utje\u0161nija. Naime, radi se o ‘znanstvenoj’ neadekvatnosti mnogih vlada u upravljanju izvanrednim situacijama, \u0161to neminovno vodi do razornosti neu\u010dinkovitih mjera suzbijanja po ekonomiju i sistem zdravstva. <\/p>\n

        U tome veliku ulogu imaju i mediji koji su u ve\u0107ini slu\u010dajeva pod nadzorom vlada posredstvom dobivenih nov\u010danih potpora, a puni su tendencioznih informacija koje spekuliraju i spektakulariziraju opseg izvanrednog stanja pretjerivanjem brojki, \u010dime generiraju uglavnom nemotiviranu ali isplativu paniku. U tom obliku pandemencije nalazi se tako\u0111er i eti\u010dki neuspjeh dru\u0161tava koja su ve\u0107 desetlje\u0107ima upravljana imperativima sebi\u010dnog individualizma, uske vizije stvarnosti, ograni\u010dena na same sebe poricanjem op\u0107eg dobra i nedostatkom odgovornosti zbog odgojno konstruiranog poistovje\u0107enja s dru\u0161tvom, zbog \u010dega su prava popra\u0107ena du\u017enostima i individualni profit op\u0107im dobrom, a u protivnom bi do\u0161lo do raspada tog dru\u0161tva kao i samog pojma gra\u0111anstva. Naime, radi se o popratnom fenomenu kojeg je svojevremeno \u0161panjolski filozof Ortega y Gasset<\/a>[251<\/strong><\/span>]<\/sup><\/a> nazvao invertebration<\/em>.<\/a>[252<\/strong><\/span>]<\/sup><\/a> Me\u0111utim, ako se dobro razmisli uvidjet \u0107e se da pandemija virusa Covid-19 nije prvi uzrok pandemencije jer bi potonja mogla biti na izvoru same pandemije. Stvari bi dakle mogle biti i obrnutog toka. <\/p>\n

        Ova pandemencija ve\u0107 desetlje\u0107ima tjera (ne samo) zapadna dru\u0161tva da se bezuvjetno posvete kategori\u010dkom imperativu profita, i to neovisno o saznanju da su tro\u0161kovi koji su povezani s prihva\u0107anjem tog kategori\u010dkog imperativa tijesno povezani s ekosustavom iz kojeg \u010dovjek crpi resurse i o kome ovisi, a kojeg je taj imperativ sveo na sredstvo za postizanje ciljeva koji su isklju\u010divo ekonomske naravi i povezani sa sve ubrzanijim tehnolo\u0161kim napretkom. To je vremenom dovelo do toga da su vi\u0161e od tri \u010detvrtine bolesti koje poga\u0111aju ljude zoonoze<\/em>, tj. one koje prenose \u017eivotinje, a jedan od sve u\u010destalih faktora \u0161irenja zoonoze zasigurno je rastu\u0107i utjecaj \u010dovjeka na ekosustavee<\/a>[253<\/strong><\/span>]<\/sup><\/a>.<\/p>\n

        Ali i pandemencija generirana primjenom neoliberalnih kategori\u010dkih imperativa se tijekom trideset godina nesmetanog djelovanja preobli\u010dila u neselektivno smanjenje dr\u017eavnih doprinosa javnom zdravstvu, socijalnim uslugama kao i svemu \u0161to mo\u017ee nekako doprinijeti razvoju kriti\u010dkog mi\u0161ljenja. Tu se naro\u010dito misli na obrazovanje, na osposobljavanje i na odgoj. Upravo u ovim posljednjim sferama dolazi do potenciranja za\u010daranog kruga ravnodu\u0161nosti koji je potreban \u0161irenju bezobzirne potro\u0161nje. Radi se naime o globaliziranom konzumerizmu koji, da bi se eksponencijalno \u0161irio potrebuje tuplju populaciju, nesposobnu za bilo kakvu, barem minimalnu kolektivnu odgovornost. Bezobzirno se ide prema konstrukciji jedne populacije pro\u017eete (kakvog li besmisla!) toliko hvaljenim ali ispraznim demokratskim vrijednostima. Radi se o ‘formalnoj demokraciji’ iz koje proizlaze ne samo bezglavi gra\u0111ani, ve\u0107 i nesposobni vladari koji nisu u stanju preuzeti odgovornost za svoje i tu\u0111e zdravlje a kamoli za dobrobit vlastite djece. Samo unutar takvog scenarija mogu slobodno vladati one, vi\u0161e ili manje skrivene mo\u0107i koje su tijesno povezane s tehnofinancijama (kakve li zavjereni\u010dke misli!).<\/p>\n

        Ovdje je mogu\u0107e primijetiti su\u0161tinu viralnog <\/em>dru\u0161tva u kojem je zamjena postoje\u0107ih sustava mo\u0107i i vrijednosti nezamisliva zbog nedostatka politi\u010dkih i kulturnih subjekata sposobnih misliti vlastitom glavom i posljedi\u010dno tome, programiranja razli\u010ditih razvojnih scenarija, alternativnih dru\u0161tvenih struktura nasuprot dominantnom tehnofinancijskom sustavu koji je nesposoban raspetljati klupko trenutnog socioekonomskog i zdravstvenog poreme\u0107aja do kojeg je do\u0161lo zbog koronavirusa, a za \u0161to je dru\u0161tvo samo stvorilo uvjete koji su doveli do eksplozije.<\/a>[254<\/strong><\/span>]<\/sup><\/a><\/p>\n

        U takvom kontekstu dominantni sociopoliti\u010dki sustav ima(o je) dvije alternative: ponovo otvoriti aktivnosti i dru\u0161tveni \u017eivot, budu\u0107i da se klauzura pokazala \u0161tetna za razvoj ekonomskog sustava, uz istovremeno otvaranje umova za gra\u0111anski osje\u0107aj i zajedni\u010dku odgovornost; ili otvoriti samo ekonomske i dru\u0161tvene aktivnosti, kako ne bi do\u0161lo do uni\u0161tenja gospodarstva, i obuzdati drugu, budu\u0107i da postoji rizik da se dovede u pitanje monopol tehno-financijske mo\u0107i. Zato \u0107e se i dalje ustrajati u (mentalnom) stanju pandemije i pandemencije, u nadi da \u0107e svevladaju\u0107i znanstvenotehnolo\u0161ki aparat, djelotvoran iako besvjestan u svojoj u\u010dinkovitosti sve u\u010diniti, kao \u0161to i \u010dini, da se vratimo u ‘normalno stanje’ tupe konzumeristi\u010dke pandemije i pandemencije.<\/p>\n

         <\/p>\n

        \n
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        <\/a>[224<\/strong><\/span>]<\/sup><\/a> 
        \nMehanizmu kojeg je u\u010dinkovito objasnio Marc Bloch u svom klasi\u010dnom djelu ‘Rat i la\u017ene vijesti’. U stvari radi se o nekoliko stranica, malo vi\u0161e od osvrta, koje dobro osvjetljavaju i suvremenu situaciju! Marc Bloch, La guerra e le false notizie. Ricordi (1914-15) e riflessioni (1921)<\/em>, Edizioni Donzelli, Roma 2004.
        \n<\/span><\/p>\n<\/div>\n

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        <\/a>[225<\/strong><\/span>]<\/sup><\/a> 
        \nAlessandro Campi, Il virus del cospirazionismo e la ‘false notizie’ di pace. Congiure e complotti all’epoca del Covid-19, <\/em>u Dopo. Come la pandemia pu\u00f2 cambiare la politica, l’economia, la comunicazione e le relazioni internazionali. Rubbettino, Soveria Mannelli, 2020, str. 177-188.<\/p>\n

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

        \n

        <\/a>[226<\/strong><\/span>]<\/sup><\/a> 
        \nNasuprot tome takozvane teorije zavjere pseudopovijesne i pseudoznanstvene su konstrukcije pojedinaca ili malih skupina koje iskori\u0161tavaju takva uvjerenja i fantazije.<\/p>\n

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

        \n

        <\/a>[227<\/strong><\/span>]<\/sup><\/a> 
        \nDa bi se shvatilo ozbiljnost situacije dovoljno je pro\u010ditati on-line \u010dlanak ‘Nije va\u017eno tko ve\u0107 za\u0161to su napisan Protokoli Sionskih mudraca ili Krvave osnove!’ u kojemu se nalaze raznorazne paranoi\u010dne gluposti. Vidi: Mladen Prenc, Nije va\u017eno tko ve\u0107 za\u0161to su napisani Protokoli Sionskih mudraca ili Krvave osnove!<\/em>,         https:\/\/portal.braniteljski-forum.com\/blog\/vijesti\/nije-vazno-tko-vec-zasto-su-napisani-protokoli-sionskih-mudraca-ili-krvave-osnove<\/a>. (Pristup: 17.09.2021.)
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[228<\/strong><\/span>]<\/sup><\/a> 
        \nDra\u017een Krajcar, „Radio drama Orsona Wellesa izazvala paniku u SAD-u (1938.)“<\/em>,         https:\/\/povijest.hr\/nadanasnjidan\/radio-drama-orsona-wellesa-izazvala-paniku-u-sad-u-1938\/<\/a> (Pristup: 17.09.2021.)<\/p>\n

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

        \n

        <\/a>[229<\/strong><\/span>]<\/sup><\/a> 
        \nH. G. Wells, Rat svjetova \/ The War of the Worlds<\/em>.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[230<\/strong><\/span>]<\/sup><\/a> 
        \nVidi: Matteo Ficare, Pensare Futuro. Usare il pensiero narrativo: tra mito e immaginazione<\/em>,<\/strong>         https:\/\/www.matteoficara.it\/pensare-futuro-pensiero-narrativo-mito-immaginazione\/<\/a> (Pristup: 17.09.2021.). i Valerio Pellegrini, Mitologie del presente e dei tempi che verranno,<\/em> http:\/\/www.quadernidaltritempi.eu\/peppino-ortoleva-miti-a-bassa-intensita-einaudi\/<\/a> (Pristup: 17.09.2021.).<\/p>\n

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

        \n

        <\/a>[231<\/strong><\/span>]<\/sup><\/a> 
        \nAlessandro Campi, op. cit.<\/p>\n

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

        \n

        <\/a>[232<\/strong><\/span>]<\/sup><\/a> 
        \nHector German Oesterheld; Francisco Solano Lopez, Eternaut<\/em>, Naklada Fibra, Zagreb 2018.<\/p>\n

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

        \n

        <\/a>[233<\/strong><\/span>]<\/sup><\/a> 
        \nPhilip K. Dick, Do Androids Dream of Electric Sheep?, Doubleday and Company, New York 1968.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[234<\/strong><\/span>]<\/sup><\/a> 
        \nMassimiliano Panarari, La pandemia e l’immaginario distopico-catastrofista : l’Occidente di fronte alla collassologia, <\/em>u: Dopo. Come la pandemia pu\u00f2 cambiare la politica, l’economia, la comunicazione e le relazioni internazionali. Rubbettino, Soveria Mannelli, 2020, str. 59-63.<\/p>\n

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

        \n

        <\/a>[235<\/strong><\/span>]<\/sup><\/a> 
        \nThe Man in the High Castle: Season 1 (2015).        https:\/\/lookmovie.io\/shows\/view\/1740299-the-man-in-the-high-castle-2015#S4-E2-66373<\/a> (Pristup: 17.12.2021.)<\/p>\n

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

        \n

        <\/a>[236<\/strong><\/span>]<\/sup><\/a> 
        \nOd uchrony<\/em><\/strong>: knji\u017eevni pod\u017eanr<\/strong><\/strong> kojim se predla\u017ee alternativna rekonstrukcija povijesti<\/em><\/strong>, na temelju doga\u0111aja koji su se, iako se nikada nisu dogodili, mogli dogoditi da su doga\u0111aji poprimili drugo zna\u010denje. U tom smislu, uchrony<\/em><\/strong> prilago\u0111ava svoju rekonstrukciju logi\u010dnim, izvedivim i vjerodostojnim kriterijima, tako da su ispri\u010dane \u010dinjenice vjerodostojne \u010ditatelju. U osnovi, ono \u0161to uhron\u00edja radi jest da se zapita “\u0161to bi se dogodilo da …?”, a iz tog pitanja zami\u0161lja alternativnu povijesnu evoluciju. U tom smislu, uhronija polazi od stvarnog doga\u0111aja ili od niza doga\u0111aja povijesne prirode koji \u0107e se odvijati u druga\u010dijem smislu od onoga koji poznajemo. Ova to\u010dka na vremenskoj traci u kojoj doga\u0111aji polaze drugim tijekom je ono \u0161to je poznato kao Jonbar to\u010dka<\/em><\/strong>, \u0161to je doga\u0111aj u kojem smjer kojim \u0107e se kretati budu\u0107a povijest pada \u010dinjeni\u010dno i simboli\u010dno. Kao takvo, ime Jonbar odnosi se na lik u pri\u010di o Jacku Williamsonu koji se zove upravo John Barr. Uobi\u010dajene teme ukroni\u010dnih \u0161pekulacija su hipotetska povijest pora\u017eenih u ratu da su bili pobjednici ili kakav bi bio svijet da je politi\u010dka evolucija krenula razli\u010ditim smjerovima itd. U knji\u017eevnost<\/em><\/strong>i, uchrony<\/strong><\/em> dijeli osobine s povijesnim romanom i znanstvenom fantastikom. Neki zapa\u017eeni primjeri su tzv alternativni povijesni romani<\/em><\/strong>: \u010covjek u dvorcu <\/em>Philipa K. Dicka, koji zami\u0161lja kakav bi svijet bio da je nacisti\u010dka Njema\u010dka pobijedila u Drugom svjetskom ratu;Zapadno od jednog <\/em>Harryja Harrisona, koji govori o \u010dovje\u010danstvu kakvo bi bilo da dinosauri nikada nisu izumrli, ili Vje\u010dni rome<\/em> Roberta Silverga, koji govori kako bi bilo da Rimsko carstvo nikada nije palo. U stripu<\/strong>, jedan od najslavnijih ukroni\u010dnih stripova je Stra\u017eari<\/em>Allana Moorea i Davea Gibbonsa. Sa svoje strane, u kinematografiji<\/strong>, nedavni primjer je film Neslavni gadovi <\/em>Quentina Tarantinoa. Vidi:        https:\/\/nsp-ie.org\/ucronia-2144<\/a> pristup 17- 09. 2021.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[237<\/strong><\/span>]<\/sup><\/a> 
        \nLuigi De Marchi, Psicopolitica<\/em>, SugarCo, Milano 1975.<\/p>\n

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

        \n

        <\/a>[238<\/strong><\/span>]<\/sup><\/a> 
        \nByung-Chul Han, Psicopolitica<\/em>, Nottetempo, Milano 2016.         https:\/\/www.academia.edu\/42076399\/Psicopolitica_Il_neoliberismo_e_le_nuove_tecniche_del_potere_Byung_Chul_Han20200226_32786_1pu408v<\/a> (Pristup: 17.08.2021.)<\/p>\n

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

        \n

        <\/a>[239<\/strong><\/span>]<\/sup><\/a> 
        \nVincenzo Susca, Note sulla postmodernit\u00e0: intervista a Michel Maffesoli<\/em>,         https:\/\/appelloalpopolo.it\/?p=16343<\/a> (Pristup: 17.08.2021.)<\/p>\n

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

        \n

        <\/a>[240<\/strong><\/span>]<\/sup><\/a> 
        \nMassimiliano Panarari, op- cit.<\/p>\n

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

        \n

        <\/a>[241<\/strong><\/span>]<\/sup><\/a> 
        \nA. Grasso e C. Penati, La nuova fabbrica dei sogni, Il Saggiatore, Milano 2016.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[242<\/strong><\/span>]<\/sup><\/a> 
        \nDamiano Palano, Apocalisse zombie. La metamorfosi della paura nell’immaginario ‘postpolitico’ contemporaneo, <\/em>Rivista di Politica, VII, (2\/2017), str. 120-138.<\/p>\n

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

        \n

        <\/a>[243<\/strong><\/span>]<\/sup><\/a> 
        \nMiroslav \u0160antek, Kurioziteti: No\u0107 \u017eivih mrtvaca (George A. Romero, 1968)<\/em>,         https:\/\/www.zgkult.eu\/2018\/10\/30\/kurioziteti-noc-zivih-mrtvaca-george-a-romero-1968\/<\/a> (Pristup: 17.08.2021.)<\/p>\n

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

        \n

        <\/a>[244<\/strong><\/span>]<\/sup><\/a> 
        \nMihailo Valjeti\u0107, Recenzija: Fear the Walking Dead \u2014 Kako su \u0161eta\u010di zauzeli televiziju<\/em>,         https:\/\/www.serijala.com\/izdvojeno\/recenzija-fear-the-walking-dead-kako-su-setaci-zauzeli-televiziju\/<\/a> (Pristup: 17.08.2021.).<\/p>\n

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

        \n

        <\/a>[245<\/strong><\/span>]<\/sup><\/a> 
        \nPaul Virilio (francuski: [vi\u0281iljo] ; 4. sije\u010dnja 1932. – 10. rujna 2018.) bio je francuski teoreti\u010dar kulture , urbanist i filozof estetike. Najpoznatiji je po svojim radovima o tehnologiji koja se razvila u odnosu na brzinu i snagu, s razli\u010ditim referencama na arhitekturu, umjetnost, grad i vojsku. Bio je povjesni\u010dar rata i tehnologije, filozof arhitekture, vojne strategije i kinematografije te politi\u010dki anga\u017eirani provokativni komentator povijesti, terorizma, masovnih medija i ljudskog stroja.<\/p>\n

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

        \n

        <\/a>[246<\/strong><\/span>]<\/sup><\/a> 
        \nNjegova se filozofija nalazi rasprostranjena u djelima poput The Information Bomb<\/em>. (Informacijska bomba<\/em>) London: Verso, 2000., Crepuscular Dawn, (Krepuskularno svitanje),<\/em> New York: Semiotext(e), 2002., The Accident of Art<\/em> (Umjetna nesre\u0107a<\/em>), (with Sylv\u00e8re Lotringer) New York: Semiotext(e), 2005., City of Panic<\/em>. (Grad panike<\/em>) Oxford: Berg, 2005., The University of Disaster<\/em> (Sveu\u010dili\u0161te za katastrofe), <\/em>Cambridge: Polity, 2010.<\/p>\n

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

        \n

        <\/a>[247<\/strong><\/span>]<\/sup><\/a> 
        \nMassimiliano Panarari, op. cit.<\/p>\n

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

        \n

        <\/a>[248<\/strong><\/span>]<\/sup><\/a> 
        \nPablo Servigne; Rapha\u00ebl Stevens; Gauthier Chapelle, Un’altra fine del mondo \u00e8 possibile. Vivere il collasso (e non solo sopravvivere) \/ Another end of the world is possible. Experiencing collapse (not only hoping to survive)<\/em>, Treccani, Roma 2020.<\/p>\n

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

        \n

        <\/a>[249<\/strong><\/span>]<\/sup><\/a> 
        \nU vezi pandemencije preporu\u010dujem da se pogleda ameri\u010dku SF filmsku komediju Idiocracy (Idiokracija<\/em> ili Idioti budu\u0107nosti<\/em>) koja je objavljena 2006 i koju je re\u017eirao Mike Judge a napisali Judge i Etan Cohen.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[250<\/strong><\/span>]<\/sup><\/a> 
        \nPaolo Ercolani, Pandemia e pandemenza: la coppia che sta distruggendo le societ\u00e0 occidentali<\/em>.         https:\/\/www.ilfattoquotidiano.it\/2020\/10\/22\/pandemia-e-pandemenza-la-coppia-che-sta-distruggendo-le-societa-occidentali\/5976315\/<\/a> (Pristup: 17. 11. 2021) <\/p>\n

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

        \n

        <\/a>[251<\/strong><\/span>]<\/sup><\/a> 
        \nOrtega y Gasset, Jos\u00e9. Hrvatska enciklopedija, mre\u017eno izdanje,<\/em>Leksikografski zavod Miroslav Krle\u017ea, Zagreb 2021.         http:\/\/www.enciklopedija.hr\/Natuknica.aspx?ID=45603<\/a> (Pristup: 17.12.2021.)<\/p>\n

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

        \n

        <\/a>[252<\/strong><\/span>]<\/sup><\/a> 
        \nMassimiliano Panarari, op. cit.<\/p>\n

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

        \n

        <\/a>[253<\/strong><\/span>]<\/sup><\/a> 
        \nU vezi toga dobro je pro\u010ditati \u010dlanak Perrine Mouterde, Coronavirus: la d\u00e9gradation de la biodiversit\u00e9 en question<\/em>,         https:\/\/www.lemonde.fr\/sciences\/article\/2020\/04\/04\/coronavirus-la-degradation-de-la-biodiversite-en-question_6035591_1650684.html<\/a> (Pristup: 17.09.2021).<\/p>\n

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

        \n

        <\/a>[254<\/strong><\/span>]<\/sup><\/a> 
        \nPaolo Ercolani, op. cit. <\/p>\n

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

         <\/p>\n

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

        Bloch, Marc, La guerra e le false notizie. Ricordi (1914-15) e riflessioni (1921)<\/em>, Edizioni Donzelli, Roma 2004.<\/p>\n

        Campi, Alessandro,\u00a0 Il virus del cospirazionismo e la ‘false notizie’ di pace. Congiure e complotti all’epoca del Covid-19, <\/em>u Dopo. Come la pandemia pu\u00f2 cambiare la politica, l’economia, la comunicazione e le relazioni internazionali. Rubbettino, Soveria Mannelli, 2020, str. 177-188.<\/p>\n

        De Marchi, Luigi, Psicopolitica<\/em>, SugarCo, Milano 1975.<\/p>\n

        Dick, Philip.K., Do Androids Dream of Electric Sheep?, Doubleday and Company, New York 1968.<\/p>\n

        Ercolani, Paolo, Pandemia e pandemenza: la coppia che sta distruggendo le societ\u00e0 occidentali<\/em>, https:\/\/www.ilfattoquotidiano.it\/2020\/10\/22\/pandemia-e-pandemenza-la-coppia-che-sta-distruggendo-le-societa-occidentali\/5976315\/<\/a> (Pristup: 17. 11. 2021) <\/p>\n

        Ficare, <\/em>Matteo, Pensare Futuro. Usare il pensiero narrativo: tra mito e immaginazione<\/em>, <\/strong>https:\/\/www.matteoficara.it\/pensare-futuro-pensiero-narrativo-mito-immaginazione\/<\/a> (Pristup: 17.09.2021.) <\/p>\n

        Han, Byung-Chul, Psicopolitica<\/em>, Nottetempo, Milano 2016. https:\/\/www.academia.edu\/42076399\/Psicopolitica_Il_neoliberismo_e_le_nuove_tecniche_del_potere_Byung_Chul_Han20200226_32786_1pu408v<\/a> (Pristup: 17.08.2021.)<\/p>\n

        Krajcar, Dra\u017een, Radio drama Orsona Wellesa izazvala paniku u SAD-u (1938.)<\/em>, https:\/\/povijest.hr\/nadanasnjidan\/radio-drama-orsona-wellesa-izazvala-paniku-u-sad-u-1938\/<\/a> (Pristup: 17.09.2021.)<\/p>\n

        Mouterde, Perrine, Coronavirus: la d\u00e9gradation de la biodiversit\u00e9 en question<\/em>, https:\/\/www.lemonde.fr\/sciences\/article\/2020\/04\/04\/coronavirus-la-degradation-de-la-biodiversite-en-question_6035591_1650684.html<\/a> (Pristup: 17.09.2021)<\/p>\n

        Oesterheld; Hector, German, Francisco Solano Lopez, Eternaut<\/em>, Naklada Fibra, Zagreb 2018. <\/p>\n

        Ortega y Gasset, Jos\u00e9. Hrvatska enciklopedija, mre\u017eno izdanje.<\/em> Leksikografski zavod Miroslav Krle\u017ea, 2021 . http:\/\/www.enciklopedija.hr\/Natuknica.aspx?ID=45603<\/a> (Pristup: 17.12.2021.)<\/p>\n

        Ortoleva, Peppino, Miti a bassa intensit\u00e0. Racconti, media, vita quotidiana<\/em>, Einaudi, Torino 2019.<\/p>\n

        Palano,Damiano, Apocalisse zombie. La metamorfosi della paura nell’immaginario ‘postpolitico’ contemporaneo<\/em>, \u00abRivista di Politica\u00bb, VII, (2\/2017), str. 120-138.<\/p>\n

        Panarari, Massimiliano,\u00a0 La pandemia e l’immaginario distopico-catastrofista : l’Occidente di fronte alla collassologia <\/em>u Dopo. Come la pandemia pu\u00f2 cambiare la politica, l’economia, la comunicazione e le relazioni internazionali. Rubbettino, Soveria Mannelli, 2020, str. 59-63.<\/p>\n

        Pellegrini, Valeriano, Mitologie del presente e dei tempi che verranno, <\/em>http:\/\/www.quadernidaltritempi.eu\/peppino-ortoleva-miti-a-bassa-intensita-einaudi\/<\/a> (<\/em>Pristup: 17.09.2021.)<\/p>\n

        Penati, Grasso e C., La nuova fabbrica dei sogni<\/em>, Il Saggiatore, Milano 2016.<\/p>\n

        Prenc, Mladen, Nije va\u017eno tko ve\u0107 za\u0161to su napisani Protokoli Sionskih mudraca ili Krvave osnove!<\/em>, https:\/\/portal.braniteljski-forum.com\/blog\/vijesti\/nije-vazno-tko-vec-zasto-su-napisani-protokoli-sionskih-mudraca-ili-krvave-osnove<\/a> (Pristup: 17.09.2021.)<\/p>\n

        Servigne; Pablo, Stevens, Rapha\u00ebl, Stevens; Chapelle Gauthier, Un’altra fine del mondo \u00e8 possibile. Vivere il collasso (e non solo sopravvivere) \/ Another end of the world is possible. Experiencing collapse (not only hoping to survive)<\/em>, Treccani, Roma 2020.<\/p>\n

        Susca, Vincenzo,Note sulla postmodernit\u00e0: intervista a Michel Maffesoli<\/em>, https:\/\/appelloalpopolo.it\/?p=16343<\/a> (Pristup: 17.08.2021.)<\/p>\n

        \u0160antek, Miroslav, Kurioziteti: No\u0107 \u017eivih mrtvaca (George A. Romero, 1968)<\/em>, https:\/\/www.zgkult.eu\/2018\/10\/30\/kurioziteti-noc-zivih-mrtvaca-george-a-romero-1968\/<\/a> (Pristup: 17.08.2021.)<\/p>\n

        The Man in the High Castle: Season 1 (2015)https:\/\/lookmovie.io\/shows\/view\/1740299-the-man-in-the-high-castle-2015#S4-E2-66373<\/a> (<\/em>Pristup: 17.12.2021.) <\/p>\n

        Valjeti\u0107, Mihailo,\u00a0 Recenzija: Fear the Walking Dead \u2014 Kako su \u0161eta\u010di zauzeli televiziju<\/em>, https:\/\/www.serijala.com\/izdvojeno\/recenzija-fear-the-walking-dead-kako-su-setaci-zauzeli-televiziju\/<\/a> (Pristup: 17.08.2021.)<\/p>\n

        Wells, Herbert, George., La guerra dei mondi<\/em>, Newton Compton Editori, Roma 2018.<\/p>\n

         <\/p>\n

        On the Other Side of Science: the Coronavirus as
        \na Social Fact and the Problem of Modernity.
        \n(The Impact of the Pandemic on Everyday Life)<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        The significant impotence of science and the contradictions raised by the Corona-virus as current crisis, which unites and reveals inequalities, suggests a scrutiny of the idea of modernity, with relative considerations regarding the social sciences. In fact, the sociological points of approach to the epidemic are diverse. Such as: breaking – with distancing practices \u2013 the rituals that define the order of social interaction; as well as like moral panics co-produced by the media and institutions to jointly accept very large sacrifices in terms of individual cost \/ benefit ratio; the structure and density of social networks as predictors of the spread of infection. The exposition offers some reflections based on dialectics, on the constant tension between the principles of unity and the division around which the social world is constantly being rearranged. The reason for such an approach is that the logic of social order (nomos) implies that any theme, event, or situation can be understood as a temporary point of balance between cohesive and divisive dynamics.
        \n<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> pandemic, pandementia, lockdown, smart working, communing, modernity, sociological imagination.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#9 2022<\/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

        DOI 10.46640\/imr.11.20.9<\/a>
        \n UDK 177:316.774
        \n Izvorni \u010dlanak
        \n Original scientific paper
        \n Primljeno: 9.2.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Fahira Fejzi\u0107-\u010cengi\u0107<\/span><\/p>\n

        Faculty of Political Science, University of Sarajevo, Bosnia and Herzegovina
        \n fahira.fejzic.cengic@gmail.com\n<\/p>\n

        Hybrid News for Hybrid Times<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (386 KB), English, Str. 3383 – 3390
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        Hybrid genres include infotainment, infomercial, arguetainment, communication stampede, spin, and media spectacle. In altered social circumstances, the usual elements of existence as a society, citizen, and public are transformed into the market, consumerist and commercial. Conventional information education becomes ad hoc commercial education. Instead of genuine media content that seeks a media audience that resonates with it, there is advertising (entertainment) through private media intended for consumers. In a construed reality, media corporation owners are not interested in the citizen, but in profit. The consequences include social spectacularization, the illusion of de-ideologization, celebrity culture, and the fact that we are generally becoming shallow. The pandemic has further intensified these trends, which in the horizons of media philosophy may be primarily considered as a Neronian intensification of fear on a global scale.<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> genre, ethics of responsibility, truth, interpretation, fear.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        It was already while writing my master’s thesis that I started questioning the possibility of establishing a journalistic episteme as a valid episteme about the world and man. I also wondered whether the mass media could help the emancipation of the world and contribute to the greatest aggregate happiness <\/em>as John Stuart Mill formulated it. Or whether they could contribute to the ethics of responsibility, which Hans Jonas has referred to as responsibility towards posterity and the future… The media and happiness, the media that make people happy… That kind of naivety can perhaps be forgiven when one is writing one’s master’s thesis and has at least twenty years less life and experience behind one than I have now.<\/p>\n

        But, after the Scylla and Charybdis that we go through in our doctorates, written books, essays, and analyses, after hundreds and hundreds of books read, and thousands and thousands of kilometres of various roads and travels, such naivety in a researcher can hardly be forgiven. Because, when asked whether the mass media still bring happiness to most people, one should rather answer sceptically that the modern mass media might actually do the opposite, not bringing happiness or even pleasure,<\/a>[255<\/strong><\/span>]<\/sup><\/a> and that they do not care responsibly about the posterity… While criticizing the mass media back then, I was referring to Gadamer’s position as he said: “We must learn to respect the other and the different. We must learn to lose in the game that starts in the early childhood, when we are two years old or maybe even younger… (Gadamer, 1999: 20) And this means that our responsibility in thought and action must be a priority, even if such principles of thought and action might lead us to “lose in the game of life,” and we must incorporate them differently into our concepts or the rules of living, even if we do not like them. Some of them have been completely erased from our modern human civilization and culture, such as the rule that wherever there is light, there is also a shadow.<\/a>[256<\/strong><\/span>]<\/sup><\/a> As both physics and chemistry have proven that energy is not destroyed, but only changes its form, it is useful to recall Goethe’s view that all laws of life and the world seek to come closer to a moral world order, as that will make it easier to achieve harmony as a basis of true peace. “Just as foul-smelling fertilizer is needed to grow a fragrant rose, or as a dazzling lotus grows from the Indian marshland” (Dahlke, 81). It could be also said that everything has its truth, and that problems are solved by overcoming them\u2026 It is difficult in a mediatized society, in mediated interpersonal relations, to understand the simple rule of the “world of life”: that what really bothers us must have something to do with our own shadow, our dark side that is like Nero’s dark side, otherwise it would not affect us that much\u2026<\/p>\n

        In polyvalent times such as ours, ethics is essential. Necessary and desirable. Like air and water, like earth and immunity. In our time, the media are increasingly becoming centres of the “ideology of demagoguery,” accepting modern premeditation as a principle<\/em>. In addition to deontological professional imperatives, we also need the public role of intellectuals and journalists. That is, journalists as intellectuals who will, as Edward Said has argued, not become centres of dominant discourse, appointed to create silent consents and acceptance, to stifle, make senseless, and break down resistance or challenge whenever false universal values \u200b\u200breach them (Said, 2011: 18).<\/p>\n

        As far as technology is concerned, both total manipulation and total communication are possible on earth. Hermeneutically, both truth and lies become social constructs, a matter of consensus or persuasiveness of interpretation, therefore again a hermeneutical problem. From Nietzsche to the present day, the problem of truth has been the problem of interpretation<\/em> and in the mass media it is all about information: whether as a professional, encoded message it brings the truth or lies in its cognitive-informative core, i.e. whether these cognitive-informative elements successfully impose their interpretation, which has always been and remains an expression of power. In order to rule easier and more economically, the social constellation of truth must be transformed into a social constellation of lies. (Fejzi\u0107, 2004: 65)<\/p>\n

         <\/p>\n

        Spreading fear \u2013 ruling the world<\/strong><\/p>\n

        In his essay on the “Balance between Aesthetic and Ethical,” speaking of Nero after he burned half of Rome, Kierkegaard wrote: “His glance is so flashing that it alarms, for behind the eyes the soul lies like a gloomy darkness. This is called the imperial look and the whole world quakes before it, and yet his innermost being is anxiety… Only when the world quakes before him does he calm down, for then there is no one who dares to seize him. That is the reason for the anxiety about people that Nero has in common with every such personality. He is as if possessed, inwardly unfree\u2026 He, the emperor of Rome, can be afraid of the look of the lowliest slave. He catches such a look; his eyes dispatch the person who dares to look at him that way\u2026 He burns up half of Rome, but his agony is the same. After a while, such things do not give him pleasure any more. There is a still greater pleasure; he will make people anxious. He is a riddle to himself, and anxiety is his nature; now he will be a riddle to everybody and rejoice over their anxiety… He does not want to impress; he wants to cause anxiety.” (Kierkegaard, 1987: 186-187)<\/strong><\/p>\n

        Today, in a more mature phase of thinking, I am aware of how important it is to spread fear \u2013 it means ruling the world. With the health-related news from corporate scientists and the frightening photographs, videos, statements, and dark forebodings, the Neronian editors, managers, producers, and journalists do not want to impress, but rather, as Kierkegaard observed, spread and instil fear and cause panic. Be it fear of infection, viruses, mutations, Alpha, Beta, Gamma, Delta, Mu, Omicron, fear of breathing, of mechanical respiration, oxygen from machines, fear of dirt, fear of isolated and even more of non-isolated viruses, fear of another person, fear of closeness, contact, touch, of burning half of Rome or half of the Planet, it doesn’t matter, as the fear of the look is perhaps the most horrible. As they approach Nero’s throne and see him smile, ordinary women and men fall dead from fear, and smiling becomes their death sentence. This finally makes Nero happy. And fear makes us obedient and subject to some of our modern Neros<\/em>.<\/a>[257<\/strong><\/span>]<\/sup><\/a>\u00a0They smile when the rest of the herd of civilization is terrified\u2026 The Emperor of Rome holds in his hand the lives of people terrified to death. Anyone who can help with that is welcome. Especially messengers, especially journalists!<\/p>\n

        One day, when everything is over, it will be said that we had overdone it a little… and more med treatments will be introduced.<\/p>\n

        Why modern Neros are always possible, Kierkegaard wonders, and states that there will always be such chances in time. For, according to him, Nero has melancholy as his weakness. For us today, melancholy is a mild trait, not at all dangerous, but Kierkegaard reminds us that it was a mortal sin according to the early church teaching. Melancholy is a trait of a man who has himself to blame for it<\/em>. For example, an old lustful man longs to satisfy his passions. But when he grows old and his soul matures while his powers wane, his spirit cannot rise and he has no strength, so he reaches for pleasures. Constant pleasures. The spirit tries to break out and rise, but it has no strength and is therefore disillusioned. It is deceived and overwhelmed by rage<\/em>, which, like Nero’s, grows into that frightening instinct like a gloomy darkness. Thus, melancholy is a condition that cannot be explained. If one asks a melancholic man what is the matter with him and why he is melancholic, he will say: I don’t know, I can’t explain. And there is the infinity of melancholy. Because, as soon as it is disclosed, it is also removed. It disappears. That is why melancholy is a sin “instar omnium.” (Kierkegaard, 1987: 189) And that is why all immediacy is happiness. All directness is happiness<\/em>. Understanding the world of immediacy is happiness. An immediator cannot understand unhappiness, he can only sense it. If Kierkegaard could have glimpse of our world, if he only knew how much indirectness and mediation is present in this constant online world, in these uninterrupted virtualities and fierce technosphere, how much space, free space for melancholy there is\u2026 He would realize exactly how accurately he had located the great sorrow of the soul of the modern world.<\/p>\n

        Sophocles would say that nothing great enters a man’s life without being damned. Yet we seldom apply and try out this thought, because fear blocks us. People who live well have one small advantage \u2013 they have their own lifestyle. And they do not give away their happiness.<\/em> Which we naively think of while working on our master’s and graduate theses. Therefore, they need good media, those media that will bring a bit of pleasure to every person, every group, and the whole world, every day. Because happiness or pleasure are the things or factors that protect immunity. Turn to yourself, to your inner self, with your own serotonin and dopamine that arise within us and not in the mass media. Not on the global media screen. Happiness is in strengthening our humility against the media proclamation of glamor and vanity. And, of course, of the obligatory progress. If we fast for a day, we will realize how little we need to live, and not as much as the mass media suggest, since the very circumstances of life give us support. Escaping fear and renunciation are hard for us, although they are what makes us happy.<\/p>\n

        It is wonderful to realize how many “things” we do not really need. And yet we are constantly purchasing and piling them up. Pure thoughts, pure emotions, pure happiness. At the time of the great syphilis epidemic, Nietzsche and Semerlein were the most severely infected among those 90% of them. And they talked about it. The order of nature does not stop, never, not even for a second, in the Heraclitan atmosphere of Panta rei \u2013 it brings us back to that flow of happiness as a beautiful flow, a natural flow. “All the ingenuity of the world must devise new pleasures for him, because only in the moment of pleasure does he find rest.” (Kierkegaard, 1987: 186).<\/p>\n

         <\/p>\n

        The crowd is untruth, as Kierkegaard would say<\/strong><\/p>\n

        There is an understanding that the truth is where the crowd is. But also that wherever there is untruth, there is a crowd\u2026 “Because the crowd is untruth.” (Kierkegaard, 1990: 56) For the crowd weakens the responsibility of the individual and in the crowd truth becomes insignificant for the individual. Because the crowd is abstract and has no hands. “But each individual has ordinarily two hands, and so when an individual lays his two hands upon Caius Marius they are the two hands of the individual, certainly not those of his neighbour, and still less those of the crowd which has no hands.” (Kierkegaard, 1990: 57). That, in turn, means that every individual fleeing for refuge into the crowd contributes his share of cowardice to the already existing cowardice of the crowd\u2026 in the mass media audience as a kind of crowd, the infodemia we are constantly mentioning and diagnosing similarly takes away the active hands from an individual, who manages things easier within the crows, while alone he could hardly become or remain self-consistent. And think. And learn. And thus be moral, ethical.<\/p>\n

        Learning makes us happy. Searching, reading, analysing, synthesizing, connecting, our growth in general. One of the good lessons is learning not to be afraid. Not to fear a priori or a posteriori. But to live. Be happy. Every prick of a needle can weaken our immunity, even school medicine admits that and not just homeopathic and alternative. So the question remains \u2013 whom do the media serve more, the sick or the pharmaceutical companies? COVID-19 has again revealed our human helplessness. In a global crowd. And so it has always been. With the syphilis and the plague… If the mass media do not understand this, they might soon lose their stage of action, discrediting and disabling themselves. Hybrid knowledge, as well as hybrid seeds, can last a year or two. Afterwards, one must buy new seeds, but from the same dealer<\/em>. Namely, seeds cannot be permanently extracted from hybrid seeds as has been the case with every natural seed for thousands of years. The mass media lacks this natural seed, resistant to all changes, resistant to quarrels, manipulations, lies… Of the 100,000 drugs in pharmacy today, only about 2,000 are really necessary. That is how many East Germany had while it existed. The mass media do not deal daily or decently in their feuilletons, educational shows, articles, reports, or travelogues with the risk groups \u2013 the obese, diabetics, those with high blood pressure, smokers, alcoholics, or drug addicts \u2013 as unhealthy lifestyles. And that needs to be repeated every day. Through very different and beautiful, long forgotten journalistic forms or genres such as reports, travelogues, travel reports, group interviews, field reports, live reports, feuilletons, homages\u2026 Instead, the modern mass media often prevent or hinder healing by omitting such content and through the so-called “postings” as a new term and a hybrid genre borrowed from social networks, which no longer needs to correspond to any recognized and real journalistic genre as an actual skill in journalism, which European history of journalism knows in many journalistic types and subtypes.<\/p>\n

         <\/p>\n

        The religious as a phenomenon of spectacle or heart<\/strong><\/p>\n

        Here we will focus on Kierkegaard’s fascinating discussion of the religious in us, of the phenomenon of fear and when that fear can be overcome. I am referring to his famous discussion about Ibrahim and Ishak, Abraham and Isaac, a father and a son to be sacrificed by his father \u2013 a father who must kill his son. Probably the most terrible existing sacrifice for a human being. Kierkegaard says that Ibrahim or Abraham is greater than all in his helplessness, as this is where love of God means hatred of oneself. He has no lamentations. For he who believes in the impossible achieves it\u2026 Ibrahim (Abraham) and Sarah desire a child although they are old, and they get it. Miraculously. Today it is the greatest miracle of existence \u2013 to have an idea of \u200b\u200bGod at all times. God sees the hidden and hears one’s tears. He forgets nothing. Faith is the age of truth. Because God is love… “To have loved gives a person’s being a harmony that is never entirely lost” (Kierkegaard, 1987: 176).<\/p>\n

        In 1981, Dean Koontz (Leigh Nicholas) published his novel The Eyes of Darkness<\/em> about a disastrous epidemic caused by a lung virus, where school medicine is powerless and the virus is called “Wuhan-400”. Is it a coincidence? Or is there an intention? Premeditation? A part of the potential answer to why the “conspiracy theories” emerge is somewhere here, because they doubt the official truth, the media truth, and because people simply feel that they have been lied to for a long time…<\/a>[258<\/strong><\/span>]<\/sup><\/a><\/p>\n

        The religion of our time is science, and growth at all costs, but we do not need growth in this destructive way. Making peace between man and his immunity is very necessary. Less is more. We all got what we deserved. Both sides need to be involved, both the fear spreaders and the fear acceptors. The law of resonance as a general law around us. The mass media cannot frighten those who are not afraid. Young people from the group “Fridays for Future” and “Extinction Rebellion” are already greeting each other by saying “degrow”\u2026 We could have learned that from them as well. Because learning makes us happy. So better ever than never.<\/p>\n

        Kierkegaard teaches us that in the age of technosphere and mediation, immediacy is happiness, because there is no contradiction in immediacy. An immediator is essentially happy. Understanding the world of immediacy is happiness. An immediator cannot understand unhappiness, he can only sense it. (Kierkegaard, 1990: 24). The aesthetical has the motto In vino veritas<\/em>. He who lives aesthetically cannot think more deeply about himself, as every moment of his life is crumbled into details. It is ethical when you are in yourself and existing, you have your peace, but if you have no duty outside of yourself… A person living religiously has chosen himself in his eternal importance. Only in despair does a person calm down. Finding the absolute is not calm, but despair… whoever believes is eternally young, remains in eternal youth. That is the value of the story of Ibrahim, Abraham, Sarah… because only what is hard delights noble persons. (Kierkegaard, 1990: 53) God is love. The idea of God transforms a man into another man. Life is a repetition, and its struggle is beautiful. And that is why life is beautiful. (Kierkegaard; 1990: 24)<\/p>\n

        The modern man lives in such a way that he knows no greater measure of life than pragmatic reason, and therefore his whole life is relativity. He works exclusively for relative purposes. With the absolute, it is something else. It means that giving your life for sacrifice is reasonable insanity<\/em>. And where it seems to us that something has no purpose, that is where the absolute is hiding. And that is a torment for the reason. For God does not think. He creates. God does not exist, he is eternal. Man, on the other hand, thinks and exists, and existence creates a gap between thinking and being (Kierkegaard; 1990: 52). Only what is hard delights noble natures. No generation has learned from another how to love. No generation starts from another point but from the beginning. “No generation has a bigger task than the previous one.” (Kierkegaard, 1990: 53). Our time is reasonable and rational, and it persists in indifference. A passionate time will destroy and overturn everything. A passionless time is cunning \u2013 it leaves everything as it was, but cunningly and insidiously nullifies its meaning. A reasonable time suffocates and prevents \u2013 it levels everything<\/em>. Levelling is a quiet, abstract mathematical occupation that does not attract any attention. “If levelling is to happen, then a phantom needs to be created first: his spirit is a huge abstraction, a fata morgana. This phantom is the public. It is only in a dispassionate, but reflective time that this phantom can develop through the press, when the latter itself becomes an abstraction\u2026 in such times, the press will take on the character of opinion\u2026 the public is a real levelling expert. Because if the levelling is approximate, it is done by someone or something, but the public is a huge nothing. The audience is everything and nothing. It is the most dangerous and most insignificant force\u2026 the public is less than a single insignificant real person. (Kierkegaard, 1990: 55) Hybrid genres, same as hybrid seeds, bring hybrid times and hybrid experiences. No content can be lasting, true, good, and ethical if it has no locus in profit. If someone resists it, they do it to their private, personal, or individual hazardous experience and consequences.<\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[255<\/strong><\/span>]<\/sup><\/a> 
        \nSead Ali\u0107 has suggested an intriguing distinction between the notions of happiness and pleasure in his book Bog u nacionalnom dresu <\/em>[God in the national jersey] (Vara\u017edin and Koprivnica: Sveu\u010dili\u0161te Sjever, 2021).<\/p>\n

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

        \n

        <\/a>[256<\/strong><\/span>]<\/sup><\/a> 
        \nIn his seminal book on the Laws of Destiny<\/em>, Ruediger Dahlke has stated that “the reality operates and does not care for the laws created by people,” and this returns as a boomerang to those who are not able to include in the set of their thoughts and actions those laws that they do not like, that is the shadow<\/em>, and consequently the so-called social Darwinism as the “survival of the fittest,” which as an unworthy strategy contradicts all religions and development opportunities, has created the mental foundation of brutal capitalism from which we all suffer\u2026” See Ruediger Dahlke, Zakoni sudbine<\/em> (Belgrade: Izdava\u010d Laguna, 2015), 25-40.<\/p>\n

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

        \n

        <\/a>[257<\/strong><\/span>]<\/sup><\/a> 
        \nDuring this conference and the preparation of the Proceedings for the magazine In Medias Res<\/em>, Netflix aired the Korean series Squid Games<\/em>, that used the example of a hazard game of life and death, mostly among poor adults, to show the worthlessness of human life, the shamelessness of playing the game to the point of murder, and the cynical creators of that inflammable environment in which several hundred people commit suicide to earn large sums of money promised to them. In the background, the creators of the game are smiling and enjoying themselves\u2026<\/p>\n

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

        \n

        <\/a>[258<\/strong><\/span>]<\/sup><\/a> 
        \nTamiflu used to be recommended for swine flu, and pharmacists turned billions. Today it is known that the drug is harmful and did not really help. Only the Polish government prevented vaccination. The media never reported about it. Why? Even the US FDA removed it from the list of drugs and it was still on the market. In 2018, the common flu took 25,000 lives in Germany. The media did not report about that either… Again the question is whether they worked for the sick or for pharmaceutical corporations. Everything makes sense. Including the “COVID-19”.<\/p>\n

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

         <\/p>\n

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

        F. Fejzi\u0107 (2004), Nelagode s medijima<\/em> [Trouble with the media], Promocult, Sarajevo<\/p>\n

        F. Fejzi\u0107 \u010cengi\u0107 (2006) Nelagode s medijima<\/em> [Trouble with the media], Globus, Dobra knjiga, Sarajevo<\/p>\n

        S. Kierkegaard (1987), Either\/Or<\/em>, Princeton University Press, Princeton, NJ<\/p>\n

        S. Kierkegaard (1990), Brevijar <\/em>[Breaviary], Moderna, Belgrade<\/p>\n

        S. Kierkegaard (1936), Filosophical Fragments<\/em>, Princeton University Press, Princeton, NJ<\/p>\n

        F. Shuon (1995), The Transfiguration of Man<\/em>, World Wisdom Books, Bloomington, IN<\/p>\n

        R. Dahlke (2015), Zakoni sudbine<\/em> [The laws of destiny], Laguna, Belgrade<\/p>\n

        R. Dahlke (2012), Bolest kao put <\/em>[Illness as a path], Belgrade<\/p>\n

        R. Dahlke (2013), Bolest kao govor du\u0161e <\/em>[Illness as the speech of the soul], Belgrade<\/p>\n

         <\/p>\n

        Hibridne vijesti za hibridno vrijeme<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        U hibridne \u017eanrove spadaju infoteitment, infomercial, arguteitment, komunikacijski stampedo, spin i medijski spektakl. U promijenjenim dru\u0161tvenim okolnostima uobi\u010dajeni elementi postojanja kao dru\u0161tvo, gra\u0111anin i javno se preobra\u017eava u tr\u017ei\u0161te, potro\u0161a\u010da i komercijalno. Uobi\u010dajeno informativno obrazovanje se pretvara u ad hoc komercijalno obrazovanje. Umjesto istinskog medijskog sadr\u017eaja koji tra\u017ei medijsku publiku koja rezonira pojavljuje se reklamerstvo (zabava) kroz privatne medije namijenjeno konzumentima. U konstruiranoj stvarnosti vlasnike medijskih korporacija ne zanima gra\u0111anin ve\u0107 profit. Posljedice su dru\u0161tvena spektakularizacija privid dezideologizacije, celebriti kultura i na\u0161e sveop\u0107e postajanje plitikima. Pandemija je ove trendove dodatno osna\u017eila koji bi se u obzorjima filozofije medija mogli nazvati neronskim ja\u010danjem straha na globalnom planu, prije svega.<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> \u017eanr, etika odgovornosti, istina, interpretacija, strah.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

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

        \n  11(20)#10 2022<\/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

        DOI 10.46640\/imr.11.20.10<\/a>
        \n UDK 599.4-049.35:578.1-0.43.83*Covid-19
        \n Izvorni \u010dlanak
        \n Original scientific paper
        \n Primljeno: 23.1.2022.<\/strong><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Suzana Marjani\u0107<\/span><\/p>\n

        Institut za etnologiju i folkoristiku
        \n Zagreb, Hrvatska
        \n suzana@ief.hr\n<\/p>\n

        \u0160i\u0161mi\u0161 ili laboratorij \u2013 ponovno o\u017eivljene rasprave o
        \nporijeklu koronavirusa lipnja 2021. godine<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (927 KB), Hrvatski, Str. 3391 – 3405
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        S obzirom na to da je lipnja 2021. ponovno o\u017eivljena rasprava o porijeklu koronavirusa, u okviru dobro poznate dihotomije \u0161i\u0161mi\u0161 ili laboratorij, \u010dlanak iznosi pregled \u010dinjenica koje smo u Hrvatskoj nau\u010dili u doba pandemije koronavirusa o tom na\u017ealost demoniziranom i navodnom uzro\u010dniku pandemije. Naime, jedan o povoda za o\u017eivljavanje rasprave o nerazja\u0161njenom porijeklu koronavirusa bio je i \u010dlanak objavljen svibnja 2021. u Wall Street Journalu, temeljen na neobjavljenom izvje\u0161taju ameri\u010dkih obavje\u0161tajaca u kojem se tvrdi da je troje znanstvenika Instituta za virologiju u Wuhanu (WIV) hospitalizirano u studenome 2019., gotovo dva mjeseca prije no \u0161to je Kina prijavila novu bolest. Veliku ulogu u pozitivnoj medijskoj slici \u0161i\u0161mi\u0161a kod nas imala je Udruga za za\u0161titu \u0161i\u0161mi\u0161a Tragus koja je upozorila, primjerice, \u0161to se ti\u010de Zagreba, i na tzv. dobre strane potresa (iz 2020. godine) s obzirom na to da su ugro\u017eene kolonije \u0161i\u0161mi\u0161a nakon potresa prona\u0161le uto\u010di\u0161te u napuklinama brojnih zagreba\u010dkih zgrada (usp. Mazija 2021).<\/em><\/p>\n

         <\/p>\n

        Klju\u010dne rije\u010di:<\/em><\/strong> demonizirani kineski \u0161i\u0161mi\u0161, pandemija koronavirusa, specizam.<\/em><\/p>\n

         <\/p>\n

         <\/p>\n

        „Gripa, kako se ispostavilo, ovisi o na\u0161em odnosu prema pticama“
        \n<\/em>(Foer 2012: 117)<\/p>\n

        Kako je lipnja 2021. godine ponovno o\u017eivljena rasprava o porijeklu koronavirusa, u okviru dobro poznate dihotomije \u0161i\u0161mi\u0161 ili laboratorij, zamisao je ovoga eseja pregled za ovu prigodu odabranih \u010dinjenica koje smo nau\u010dili u doba pandemije koronavirusa o tom na\u017ealost demoniziranom i navodnom uzro\u010dniku pandemije. Jedan od povoda za o\u017eivljavanje rasprave o nerazja\u0161njenom porijeklu koronavirusa bio je i \u010dlanak objavljen svibnja 2021. godine u Wall Street Journalu<\/em> temeljen na neobjavljenom izvje\u0161taju ameri\u010dkih obavje\u0161tajaca u kojemu se tvrdi da je troje znanstvenika Instituta za virologiju u Wuhanu (WIV) hospitalizirano u studenome 2019., dva mjeseca prije no \u0161to je Kina prijavila novu bolest (usp. Gordon et al 2021). Pritom, veliku je ulogu u pozitivnoj medijskoj slici \u0161i\u0161mi\u0161a kod nas imala Udruga za za\u0161titu \u0161i\u0161mi\u0161a Tragus koja je upozorila, primjerice, \u0161to se ti\u010de Zagreba, i na tzv. dobre strane potresa s obzirom na to da su ugro\u017eene kolonije \u0161i\u0161mi\u0161a nakon potresa prona\u0161le uto\u010di\u0161te u napuklinama brojnih zagreba\u010dkih zgrada.<\/a>[259<\/strong><\/span>]<\/sup><\/a> Tako Mirna Mazija iz navedene udruge isti\u010de da su Konvencija o migratornim vrstama (CMS), Sporazum o za\u0161titi europskih populacija \u0161i\u0161mi\u0161a (EUROBATS) i Sporazum o za\u0161titi afri\u010dko-euroazijskih migratornih ptica mo\u010dvarica (AEWA) objavili zajedni\u010dku obavijest o \u0161i\u0161mi\u0161ima i bolesti COVID-19 u kojoj pokazuju kako \u0161i\u0161mi\u0161i ne prenose virus COVID-19 (Mazija, 2020). Autorica, me\u0111u ostalim, isti\u010de da su brojne vrste \u0161i\u0161mi\u0161a pod za\u0161titom CMS-a i EUROBATS-a, a u trenutnom suo\u010davanju \u010dovje\u010danstva s pandemijom virusa COVID-19 potreba za za\u0161titom i o\u010duvanjem ovih ve\u0107 ugro\u017eenih sisavaca jo\u0161 je izra\u017eenija.<\/a>[260<\/strong><\/span>]<\/sup><\/a><\/p>\n

        U kontekstu naslovne teme nadovezujem se na \u010dlanak“Kako je to biti \u0161i\u0161mi\u0161 u doba COVIDA-19? ili koliko pandemije mo\u017eemo podnijeti?“ koji sam objavila zajedno s kolegom Goranom \u0110ur\u0111evi\u0107em (izlaganje smo imali na skupu COVID-19 u humanisti\u010dkoj perspektivi <\/em>2020. godine u Institutu za etnologiju i folkloristiku u Zagrebu). <\/strong>U kontekstu zooaktanta kao navodnoga uzro\u010dnika i prijenosnika pandemije istaknuli smo istra\u017eivanje Leonarda Schilda i suradnika koji su utvrdili kako COVID-19 poti\u010de porast sinofobije na webu<\/em><\/a>[261<\/strong><\/span>]<\/sup><\/a> te da je \u0161irenje sinofobnog sadr\u017eaja vi\u0161estruki fenomen na digitalnim dru\u0161tvenim platformama. S jedne strane, postoji na rubnim internetskim zajednicama, npr. na politi\u010dki nekorektnoj platformi 4chan<\/em> (Schild et al. 2020: 1). S druge strane, medijima dane izjave visokih du\u017enosnika poput biv\u0161eg ameri\u010dkog predsjednika Donalda Trumpa o kineskom virusu doprinijeli su razvoju sinofobije (usp. \u0110ur\u0111evi\u0107, Marjani\u0107 2020, 2021, 2022; Marjani\u0107 2020, 2021). Trump je vrlo rano stvorio javnu paranoju nazivaju\u0107i ga „kineskim virusom“, „virusom Wuhan“ i „kung gripom“. Navodno je izraz koristio vi\u0161e od 20 puta izme\u0111u 16. i 20. o\u017eujka 2020. godine (prema Peters 2020).<\/strong><\/p>\n

        Zapadnoeuropski znanstvenici kineskog porijekla Yunpeng Zhang i Fang Xu napravili su dubinsku analizu novinskih natpisa zapadnih medija koja je pokazala nekoliko trendova poput marginaliziranja, diskreditiranja i nepovjerenja prema kineskim i azijskim istra\u017eiva\u010dima te reproduciranja orijentalizma, rasizma i seksizma. Osim navedenoga, prema rije\u010dima dvojice citiranih znanstvenika, cijela produkcija znanja kroz medijske reprezentacije napravljena je iz perspektive dr\u017eavofobije (engl. Statephobia<\/em>) i diskreditiranja uspjeha pojedinih azijskih zemalja, a posebice Kine, u rje\u0161avanju zdravstvene krize i pandemije (usp. \u0110ur\u0111evi\u0107, Marjani\u0107 2020, 2021, 2022; Marjani\u0107 2020, 2021).<\/p>\n

        Michael Adrian Peters, izvr\u0161ni urednik \u010dasopisa Educational Philosophy and Theory<\/em>, u \u010dlanku „\u017di\u017eek o Kini i COVIDU-19: Wuhan, autoritarni kapitalizam i empatijski socijalizam u Novom Zelandu“ upozorava da su u jeku koronakrize naro\u010dito Sjedinjene Dr\u017eave, Ujedinjeno Kraljevstvo i Australija razvijale orkestriranu kampanju temeljenu na Five Eyes<\/em>, obavje\u0161tajnom sustavu za produljenje trgovinskih ratova kao \u0161to je to slu\u010daj s nedavnom britanskom zabranom Huawei 5G tehnologije \u0161to u kona\u010dnici pove\u0107ava izglede za novi Hladni rat (Peters 2020: 3\u20134)<\/a>[262<\/strong><\/span>]<\/sup><\/a> Naime, Five Eyes<\/em> je obavje\u0161tajni savez koji \u010dine Australija, Kanada, Novi Zeland, Ujedinjeno Kraljevstvo i Sjedinjene Dr\u017eave. Dakle, u jeku koronakrize srpnja 2020. godine Velika Britanija odlu\u010dila je da se Huawei 5G tehnologija do 2027. godine mora ukloniti iz Velike Britanije. Odnosno, davateljima mobilnih usluga u Velikoj Britaniji zabranjena je kupnja nove Huawei 5G opreme od 31. prosinca 2020. Slijede sankcije koje je uveo Washington, s obzirom na tvrdnju da tvrtka predstavlja prijetnju nacionalnoj sigurnosti. Zamjetno je da 5G mre\u017ea uvedena 2020. i 2021. u jeku koronakrize, pa tako i u Hrvatskoj.<\/a>[263<\/strong><\/span>]<\/sup><\/a><\/p>\n

         <\/strong><\/p>\n

        Negacija demonizacije \u0161i\u0161mi\u0161a<\/strong><\/p>\n

        Nakon uvodnoga podsje\u0107anja na o\u017eivljene rasprave o dihotomiji \u0161i\u0161mi\u0161 ili laboratorij navodim \u0161to sam osobno nau\u010dila o toj demoniziranoj \u017eivotinji koji je pao gotovo kao \u017ertva u posljednjoj pandemiji. Na poziv kolega napisala sam \u010dlanak kra\u0107ega formata „O fiktivnim i ugro\u017eenim \u0161i\u0161mi\u0161ima, navodnom uzro\u010dniku i prijenosniku koronavirusa iz Wuhana ili kako je to biti \u0161i\u0161mi\u0161 u doba bolesti COVID-19“ (Marjani\u0107, u: \u0110ur\u0111evi\u0107, Marjani\u0107 2020). Na temelju navedenoga naslovnoga pitanja napravila sam interpretativnu poveznicu s \u010dlankom iz 1974. godine ameri\u010dkoga filozofa Thomasa Nagela u kojemu se u kontekstu meditacije o nemogu\u0107nosti objektivnoga razumijevanja subjektivnoga iskustva zapitao kako je to biti \u0161i\u0161mi\u0161 te smatra da nas neuroznanost nikada ne\u0107e dovesti bli\u017ee razumijevanju navedenoga iskustva, \u0161i\u0161mi\u0161je fenomenologije. <\/em>Nagelov utjecajni \u010dlanak „Kako je to biti \u0161i\u0161mi\u0161” [What is It Like to Be a Bat] (1974) poga\u0111a u su\u0161tinu problema, a to je pitanje svijesti<\/em> (qualia<\/em>), ili njegovim retori\u010dkim pitanjem: „Ja \u017eelim znati kako je \u0161i\u0161mi\u0161u biti \u0161i\u0161mi\u0161. Ako ipak poku\u0161am to zamisliti, ograni\u010den sam sredstvima vlastitog uma, ona toj zada\u0107i ne odgovaraju“ (Nagel, prema Coetzee 2004: 37, usp. Laird 2018: 144\u2013145). <\/p>\n

        Wendy Doniger navodi da je davno prije Nagela bila upotrijebljena metafora s konjem (rije\u010d je o dobro poznatoj Ksenofanovoj kritici religije) kako bi se izrazili problemi \u0161to ih imamo sa zami\u0161ljanjem \u017eivotinjskog uma. U razgovoru sa svojim kolegom Maxom Gluckmanom, antropolog Radcliffe-Brown je, za na\u010din kojim je Frazer oblikovao Zlatnu granu,<\/em> izmislio krilaticu „argumentacija u stilu da sam ja konj“, „prema pri\u010di o farmeru sa Srednjeg Zapada \u010diji je konj odlutao s ogra\u0111enog pa\u0161njaka. Farmer je stao na pa\u0161njak, \u017evaknuo malo trave i mozgao: ‘E sad, da sam ja konj, kojim bih putem oti\u0161ao?“ (Doniger, prema Coetzee 2004: 115).<\/a>[264<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Nagel, naime, uzima kao primjer \u0161i\u0161mi\u0161a zbog toga \u0161to, kako navodi „ako bi\u0107e zauzima mjesto prenisko u filogenetskom sustavu, ljudi sve manje vjeruju u prisutnost iskustva u njemu“ (prema Coetzee 2004: 37), te je njihov osjetilni aparat daleko druga\u010diji od na\u0161eg. Naime, koliko god istra\u017eivali, \u010dak i imaju\u0107i sve informacije o arhitekturi \u0161i\u0161mi\u0161eva mo\u017edanog sklopa, ne mo\u017eemo znati kakvo je njegovo iskustvo u doba pandemije. <\/p>\n

        Pritom Merlin D. Tuttle, znanstvenik i osniva\u010d me\u0111unarodne nevladine organizacije Bat Conservation International, voditelj neprofitne organizacije Merlin Tuttle’s Bat Conservation, u \u010dlanku „Give Bats a Break“ iz 2017. godine isti\u010de da traganje za novim virusima kod \u0161i\u0161mi\u0161a vjerojatno ne\u0107e zna\u010dajno pridonijeti ljudskom zdravlju, no mo\u017ee ozbiljno ugroziti budu\u0107nost \u0161i\u0161mi\u0161a. Sa\u017eimam navedeni \u010dlanak: ideja da \u0161i\u0161mi\u0161i mogu biti odgovorni za prijenos nove smrtonosne infekcije na ljude zapo\u010dela je 2002.\/2003. godine s otkri\u0107em novoga koronavirusa koji je uzrokovao SARS, usmrtiv\u0161i oko 800 osoba (Wikipedia <\/em>navodi 775 osoba).<\/a>[265<\/strong><\/span>]<\/sup><\/a> Tri godine kasnije, \u010dlanak u \u010dasopisu Science <\/em>pod naslovom „\u0160i\u0161mi\u0161i su prirodni rezervoari koronavirusa sli\u010dnih SARS-u“ (Li, Shi, Yu, 2005: 676\u2013679) najavio je znanstveni lin\u010d na \u0161i\u0161mi\u0161e, s obzirom na to da se znanstveno proklamiralo da su \u0161i\u0161mi\u0161i globalna prijetnja javnom zdravstvu. Od tada su takozvani lovci na viruse intenzivno tragali za opasnim virusima \u0161i\u0161mi\u0161a. Autor, u kontekstu navedene demonizacije \u0161i\u0161mi\u0161a, postavlja klju\u010dnu tezu da bismo se trebali po\u010deti brinuti \u0161to \u010dinimo \u0161i\u0161mi\u0161ima u ime znanosti i javnog zdravstva. Merlin D. Tuttle, nadalje, iz ekocentri\u010dne vizure isti\u010de kako je nemogu\u0107e da su \u0161i\u0161mi\u0161i utjecali na pojavu zaraze, s obzirom na to da smo tijekom ve\u0107eg dijela ljudske povijesti zajedno sa \u0161i\u0161mi\u0161ima \u017eivjeli u spiljama, zatim u slamnatim kolibama i brvnarama, no posljednjih stotinu godina trend je postao obrnut. Populacija \u0161i\u0161mi\u0161a se uslijed industrijalizacije smanjila, a suvremeni ljudi po\u010deli su \u017eivjeti u zgradama koje isklju\u010duju \u0161i\u0161mi\u0161e iz habitata. S obzirom na na\u0161u dugu povijest bliskih veza, razumljivo je da smo razvili otpornost jedni prema drugima u odnosu na bolesti. Mo\u017eda to obja\u0161njava za\u0161to je bilo tako te\u0161ko dokumentirati \u0161i\u0161mi\u0161e kao izvore smrtonosnih bolesti kod ljudi i zbog \u010dega je potrebno poni\u0161titi demonizaciju \u0161i\u0161mi\u0161a (Tuttle 2017: 44). U tome smislu navedeni zoocentri\u010dki \u010dlanak Merlina D. Tuttlea mo\u017ee se uzeti kao primjer iznimnoga odgovora na Nagelovo filozofijsko i retori\u010dko pitanje iz perspektive njegova \u010dlanka. Upu\u0107ujem i na kampanju za za\u0161titu \u0161i\u0161mi\u0161a u doba pandemije COVID-19 #DontBlameBats<\/em> s namjerom suzbijanja neutemeljenih strahova od \u0161i\u0161mi\u0161a kao izvora novog koronavirusa.<\/a>[266<\/strong><\/span>]<\/sup><\/a><\/p>\n

        Zamjetno je da „infektivna” pri\u010da \u010dini se ne donosi i dubinskoekolo\u0161ku pri\u010du o tome kako je navodno kineski \u0161i\u0161mi\u0161 u metonimijskoj kineskoj juhi postao uzro\u010dnik i prijenosnik koronavirusa iz Wuhana. Dubinskoekolo\u0161ka pri\u010da sli\u010dna je scenariju filma Zaraza<\/em> Stevena Soderbergha iz 2011. godine, koji prati s<\/strong>mrtonosan virus<\/strong> koji u svega nekoliko tjedana izaziva globalnu pandemiju. Posljednja sekvenca filma razotkriva uzro\u010dnika i prijenosnika zaraze \u2013 sustavna deforestacija u okviru \u010dega demonizirani kineski \u0161i\u0161mi\u0161 iz divljine zarazu prenosi na gospodarstvo, uzgoj svinja, kojim se poslu\u017eio jedan lanac hotela. Dakle, na samom vrhu te apokalipti\u010dne, pandemijske, distopijske pri\u010de stoji deforestacija uslijed \u010dega je demonizirani \u0161i\u0161mi\u0161 do\u0161ao u kontakt s gospodarstvom za uzgoj svinja. U kontekstu tog fiktivnoga virusa iz filma Stevena Soderbergha, koji je znatno opasniji i nema povezanosti s virusom COVID-19, isti\u010dem Wilsonov koncept jedinstvo znanja<\/em>, koji je potreban u komparativnoj analizi pri\u010da glavnih medija i tzv. kini\u010dkih teorija zavjera, koje podrivaju cinizam mo\u0107i na vlasti, u Sloterdijkovu odre\u0111enju i u odre\u0111enju politologa, teoreti\u010dara teorija zavjera Neboj\u0161e Blanu\u0161e, o tome kako humani ulazak u pra\u0161ume, deforestacija, kao \u0161to je dokumentirao Soderberghov film, donosi i nove pandemije. Kao \u0161to demonstrira grafikon World Wildlife Funda<\/em>, prvi korak u izazivanju pandemije sustavna je deforestacija, zatim trgovanje divljim \u017eivotinjama, nadalje mokre tr\u017enice<\/a>[267<\/strong><\/span>]<\/sup><\/a> gdje nastaje kontakt razli\u010ditih vrsta. Bilo bi to sa\u017eeto putovanje pandemije o kojemu se toliko u glavnim medijima i ne govori jer je rije\u010d o ekocentri\u010dnoj, biocentri\u010dnoj pri\u010di koja ide protiv globalnoga specizma neoliberalne ekonomije. <\/p>\n

        Udruga Prijatelji \u017eivotinja u Hrvatskoj 14. travnja 2020. na svom je portalu objavila sljede\u0107u vijest<\/a>[268<\/strong><\/span>]<\/sup><\/a> o grupi NOVID-50, koja je zapo\u010dela s timom od 20 ljudi koji su poku\u0161ali iznijeti rje\u0161enje za krizu COVID-19 na Global Hacku<\/em> \u2013 online<\/em> doga\u0111aju na kojem timovi \u0161irom svijeta pronalaze radna rje\u0161enja kroz 48 sati. NOVID-50 bavi se uzrokom pandemija uzrokovanim bolestima koje prenose \u017eivotinje, no s naglaskom na intenzivnom iskori\u0161tavanju \u017eivotinja (npr. Charles Patterson navedenu industrijsku strategiju odre\u0111uje industrijskim holokaustom). Pozivaju Ujedinjene narode da naprave strategiju okon\u010danja rada industrijskih farmi \u017eivotinja, tr\u017enica sa \u017eivim \u017eivotinjama kao i cjelokupno iskori\u0161tavanje \u017eivotinja. Sa\u017eeto, navedena je platforma istaknula dubinskoekolo\u0161ki uzro\u010dnik pandemija, me\u0111u kojima je svakako i prehrana \u017eivotinjama, ili kao \u0161to bi Melanie Joy rekla \u2013 ideologija karnizma. <\/p>\n

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        Foto 1: PETA-in reklamni odgovor na ideologiju karnizma u doba pandemije COVID-19: „Tofu nikada nije prouzrokovao pandemiju“.<\/em><\/a>[269<\/strong><\/span>]<\/sup><\/a><\/p>\n<\/div>\n

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        Foto 2: „Jedenje \u017eivotinja uzro\u010dnik je pandemija: mokre tr\u017enice \u2013 COVID-19, svinje \u2013 svinjska gripa; perad \u2013 pti\u010dja gripa, deve \u2013 MERS, goveda \u2013 kravlje ludilo, \u0161i\u0161mi\u0161i, ljuskavci\/ pangolini \u2013 SARS “. Preuzeto s Facebook stranice Million Dollar Vegan <\/strong>(7. lipnja 2021.)<\/em><\/a>[270<\/strong><\/span>]<\/sup><\/a><\/p>\n<\/div>\n

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         <\/strong><\/p>\n

        Izlo\u017ebeni \u0161i\u0161mi\u0161i u Zagrebu <\/strong><\/p>\n

        Zadr\u017eimo se na dvjema izlo\u017ebama o \u0161i\u0161mi\u0161ima koje su 2019. i 2020. godine bile prire\u0111ene u Zagrebu. Izlo\u017eba Tehnologije u biologiji: \u0160i\u0161mi\u0161i <\/em>(Zagreb, Tehni\u010dki muzej Nikola Tesla, 2019)<\/a>[271<\/strong><\/span>]<\/sup><\/a> predstavila jetehnologije koje otkrivaju do tada nepoznata iskustva \u0161i\u0161mi\u0161a, gotovo u smislu Nagelova \u010dlanka Kako je to biti \u0161i\u0161mi\u0161<\/em>. Izlo\u017eba je rezultat dvogodi\u0161njeg istra\u017eivanja \u0161i\u0161mi\u0161a na otoku Lokrumu kod Dubrovnika (Javna ustanova Rezervat Lokrum)<\/a>[272<\/strong><\/span>]<\/sup><\/a> s posebnim osvrtom na dvije vrste \u0161i\u0161mi\u0161a \u2013 Plecotus kolombatovici<\/em> i Rhinolophus hipposideros<\/em>. Pritom su izlo\u017ebom bili povezani svijet \u0161i\u0161mi\u0161a i tehnologija (detektor za \u0161i\u0161mi\u0161e, telemetrija) koje se koriste za njihovo istra\u017eivanje s pojedinim predmetima (npr. reprodukcije da Vincijevih crte\u017ea razrade ideje kojom je prou\u010davaju\u0107i krila i let \u0161i\u0161mi\u0161a osmislio napravu za let \u010dovjeka; maketa druge, kasnije ina\u010dice aviona Slavoljuba Penkale \u2013 TMNT 1852; mala talijanska podmornica CB\u201320, proizvedena 1943. godine u Milanu u Italiji \u2013 TMNT 332) iz stalnog postava Tehni\u010dkog muzeja Nikola Tesla u Zagrebu.<\/a>[273<\/strong><\/span>]<\/sup><\/a> Izlo\u017eba je poseban naglasak stavila na eholokaciju, kao \u0161to je to u\u010dinio i Nagel svojim \u010dlankom koji iz filozofijske ni\u0161e postavlja pitanje „kako je to biti \u0161i\u0161mi\u0161“. Kao \u0161to navode autori\/ice izlo\u017ebe, eholokacija omogu\u0107uje \u0161i\u0161mi\u0161ima da se orijentiraju u prostoru uz pomo\u0107 povratnih odjeka njihovih poziva. Ure\u0111aj koji omogu\u0107uje potvrdu prisutnosti \u0161i\u0161mi\u0161a pretvaranjem njihovih zvukova, tj. eholokacija, u zvuk koji \u010dovjek mo\u017ee \u010duti, naziva se ultrazvu\u010dni detektor ili detektor \u0161i\u0161mi\u0161a.<\/a>[274<\/strong><\/span>]<\/sup><\/a> U tome smislu mo\u017eemo re\u0107i da je detektor za \u0161i\u0161mi\u0161eomogu\u0107io djelomi\u010dan odgovor na Nagelovo pitanje “kako je to biti \u0161i\u0161mi\u0161”. Drugo istra\u017eivanje telemetrijom odvijalo se tako da su se tijekom istra\u017eivanja na pojedine jedinke \u0161i\u0161mi\u0161a pri\u010dvrstili vrlo mali radio-oda\u0161ilja\u010d koji \u0161i\u0161mi\u0161i odbacuju za desetak dana. U tom razdoblju, istra\u017eiva\u010di opremljeni radio-prijemnicima i usmjerenim antenama mogu pratiti \u0161i\u0161mi\u0161e i odrediti njihov polo\u017eaj u prirodi. Prikupljeni se podaci obra\u0111uju te se izra\u0111uju karte njihovog kretanja, kao \u0161to je pokazala i karta izlo\u017eena na izlo\u017ebi. Izlo\u017eba je jednako tako pokazala, kao \u0161to sam ve\u0107 spomenula, na koji su na\u010din let \u0161i\u0161mi\u0161a koristili neki znanstvenici u svojim istra\u017eivanjima. Tako je Leonardo da Vinci, prou\u010davanjem leta i krila \u0161i\u0161mi\u0161a, prvi razra\u0111ivao zakone letenja. Reprodukcije da Vincijevih crte\u017ea razrade te ideje u stalnom su postavu Odjela Prometna sredstva Tehni\u010dkog muzeja Nikola Tesla.<\/a>[275<\/strong><\/span>]<\/sup><\/a> Jednako tako prou\u010davanje \u0161i\u0161mi\u0161a i njihovog snala\u017eenja u prostoru pomo\u0107u eholokacije pridonijelo je razvoju radara i sonara. Kao \u0161to \u0161i\u0161mi\u0161i proizvode zvuk koji se \u0161iri kao val, tako i ti ure\u0111aji, kako smo mogli pro\u010ditati na legendama izlo\u017ebe, oda\u0161ilju i primaju povratne valove na temelju kojih mogu izra\u010dunati udaljenost ili brzinu nekih objekata, kao \u0161to su podmornice, zrakoplovi i sli\u010dno. Poznato je da je osmi\u0161ljavanju radara pridonio i Nikola Tesla. <\/p>\n

        Sljede\u0107a zagreba\u010dka izlo\u017eba na kojoj su zoo-aktanti bili \u0161i\u0161mi\u0161i bila je izlo\u017eba Otvoreno <\/em>\u2013 \u017diva bi\u0107a i njihove opasne veze\/ Open \u2013 Living Beings and Their Dangerous Laisons, <\/em>izlo\u017eba radova produciranih u sklopu europske mre\u017ee EMAP \u2013 European Media Art Platform koja okuplja europske organizacije i institucije posve\u0107ene novomedijskoj umjetnosti, postavljene u okviru Touch Me festivala (Tehni\u010dki muzej Nikola Tesla, Zagreb, kustoski tim KONTEJNER; Tereza Tekli\u0107 i Olga Majcen Linn).<\/a>[276<\/strong><\/span>]<\/sup><\/a> Na navedenoj su izlo\u017ebi Daniela Mitterberger i Tiziano Derme (MAEID B\u00fcro f\u00fcr Architektur und transmediale Kunst) predstavili svoj rad Oko Drugoga III „O cvije\u0107u“ \u2013 Me\u0111uvrsna komunikacija izme\u0111u \u010dovjeka i \u0161i\u0161mi\u0161a <\/em>(imerzivno audio-vizualno su\u010delje, multimodalna skulptura, 2019.\u20132020). Kako umjetnici isti\u010du, The Eye of the Other<\/em> „je projekt koji istra\u017euje neverbalnu komunikaciju izme\u0111u ljudi i \u0161i\u0161mi\u0161a, kroz prou\u010davanje i prevo\u0111enje senzornih sustava \u0161i\u0161mi\u0161a. Rad prevodi percepcijski svijet nektarskih \u0161i\u0161mi\u0161a u perceptivne obrasce koje \u010dovjek mo\u017ee razumjeti \u2013 od eholokacije do na\u0161ih osjetila kao \u0161to su sluh, vid i dodir.” Naime, \u0161i\u0161mi\u0161i koji se hrane nektarom pronalaze cvije\u0107e sortiranjem okoli\u0161a pomo\u0107u vizualnih i sonarnih informacija. Oni mogu raspoznati geometriju pojedinog cvijeta proizvode\u0107i takozvane eho-otiske (usp. Touch Me Festival <\/em>2020: 131).<\/a>[277<\/strong><\/span>]<\/sup><\/a> Projekt Oko Drugoga III „O cvije\u0107u“ <\/em>prevodi te otiske u \u010dujne frekvencije i vizualne, osjetilne uzorke razumljive ljudskim \u010dulima, ukratko, \u0161i\u0161mi\u0161je iskustvo prevode u ljudsko. Pritom se umjetnici-znanstvenici pozivaju na teorijske koncepte\u00a0 Derridaina\u010dlanka \u017divotinja koja, dakle, jesam (vi\u0161e slijedi)<\/em><\/strong> (1997, 2002) Giorgia Agambena Otvoreno: \u010covjek i \u017eivotinja<\/em> (2004), Brune Latoura i naravno na Nagelovo filozofijsko promi\u0161ljanje „kako je to biti \u0161i\u0161mi\u0161“. Navodim njihov umjetni\u010dko-znanstveni opis susreta sa svijetom tih lete\u0107ih sisavaca: „Unutar ovog prostora gubimo svoju individualnost, ne ubrajamo se u vrstu, ve\u0107 kao agense<\/em> postavljene u rezonanciju unutar okoli\u0161a. Mo\u017eda su ove vrste iskustava izravan poziv da se preispita na\u0161 polo\u017eaj kao vrste me\u0111u mnogima na zemlji, \u0161to bi Latour definirao kao ‘zemaljce’ ili one pri\/vezane za zemlju<\/em>” (Derme & Mitterberger 2020). Za instalaciju su izradili 3D printano umjetno cvije\u0107e. Tako\u0111er su koristili sinteti\u010dki pelud za punjenje cvije\u0107a kao hranu za \u0161i\u0161mi\u0161e.<\/a>[278<\/strong><\/span>]<\/sup><\/a><\/p>\n

        I dok je prva ovdje navedena izlo\u017eba znanstveno dokumentirala eholokaciju, spomenuti znanstveno-umjetni\u010dki rad o me\u0111uvrsnoj komunikaciji eholokaciju je prenio u vizualni, \u010dujni i taktilni segment svojstvenu ljudskoj komunikaciji i pritom je segmentirao istra\u017eivanje na samo jednu vrstu \u0161i\u0161mi\u0161a \u2013 na \u0161i\u0161mi\u0161e koji se hrane nektarom koji imaju jedinstveni sustav senzorne kompenzacije koji im omogu\u0107uje da tra\u017ee hranu u napu\u010denim habitatu kao \u0161to su pra\u0161ume. Pritom umjetnici su istaknuli ulogu navedenoga umjetni\u010dko-znanstvenoga projekta u kontekstu biosonarne tehnologije koja je prisutna u prirodi samo kod dvije grupe \u017eivotinja \u2013 \u0161i\u0161mi\u0161a i moljaca koji koriste zra\u010dni biosonar dok su kitovi i dupini orijentirani na podvodni biosonar. Pored matrice biosonarne tehnologije navedeni umjetnici-znanstvenici isti\u010du i ulogu senzorne ekologije (engl. sensory ecology<\/em>) (Derme & Mitterberger 2020), koji prou\u010davaju kako organizmi stje\u010du i reagiraju na informacije o svom okoli\u0161u i kao primjer isti\u010du senzorni sustav eholokacije \u0161i\u0161mi\u0161a. <\/p>\n

        Marina Gr\u017eini\u0107 u knjizi Estetika kibersvijeta i u\u010dinci derealizacije<\/em> u poglavlju o umjetnom \u017eivotu i terminalnom pozicioniranju napominje da je u 18. stolje\u0107u vrhunac mehani\u010dke simulacije predstavljala Vaucansonova mehani\u010dka patka “koja je pila, jela, kvakala\u2026 i probavljala hranu kao \u017eiva patka”. Navedena produkcija umjetnoga \u017eivota \u010dini uvod u autori\u010dino promi\u0161ljanje o umjetni\u010dkim strategijama genetskoga in\u017eenjeringa u sklopu kojih Oron Catts, Ionat Zurr i Guy Ben-Ary (The Tissue Culture & Art Project) uzgajaju \u017eive vlaknaste mikroorganizme kao \u017eive skulpture, i pritom autorica oda\u0161ilje bioeti\u010dki upit-sumnju: “No, moramo se pitati \u0161to \u0107e se desiti sa \u017eivom skulpturom kad joj opadne vrijednost na tr\u017ei\u0161tu umjetnina.” Iako su prvenstveno znanstvenici, medijski umjetnici i arhitekti Daniela Mitterberger i Tiziano Derme na svojoj internetskoj stranici isti\u010du o sebi i umjetni\u010dku matricu vlastitih istra\u017eivanja \u2013 suosniva\u010di su i direktori MAEID \/ B\u00fcro f\u00fcr Architektur und Trasmediale Kunst, interdisciplinarnog studija za dizajn za kriti\u010dko lociranje novih tehnologija unutar novih spojeva \u010dovjeka-\u017eivotinje-stroja.<\/p>\n

        Instalacija Oko Drugoga III „O cvije\u0107u“ \u2013 Me\u0111uvrsna komunikacija izme\u0111u \u010dovjeka i \u0161i\u0161mi\u0161a <\/em>koristi pona\u0161anje \u0161i\u0161mi\u0161a i njihovu eholokaciju na tehnologije poput samovoze\u0107ih automobila. Prou\u010davanje njihovog biosonarnog sustava trenutno \u010dini klju\u010dni napredak za tehnologije koje se primjenjuju na radarske i ra\u010dunalne ure\u0111aje za vid. Te aplikacije koriste sonar kako bi olak\u0161ale i interpretirale prikaz trodimenzionalne geometrije u izlaznom signalu (kompjutorski vid). Samovoze\u0107i automobili trenutno koriste sonarnu tehnologiju za upravljanje vozilima u slu\u010daju detekcije magle i slabe vidljivosti (Derme & Mitterberger 2020).<\/p>\n

        Zavr\u0161no navodim i niz malih popularno-znanstvenih izlo\u017ebi, namijenjenih najmla\u0111ima, koji se odr\u017eavaju u pojedinim gradovima Hrvatske u povodu obilje\u017eavanja Me\u0111unarodne no\u0107i \u0161i\u0161mi\u0161a. Tako je Osijek Devetu no\u0107 \u0161i\u0161mi\u0161a (29.\u201330. kolovoza) 2020. godine obilje\u017eio u Zoo vrtu<\/a>[279<\/strong><\/span>]<\/sup><\/a> pod programskim geslom „\u0160i\u0161mi\u0161i nisu krivi za koronu, ali bi Osijek mogli rije\u0161iti komaraca“, i to u znaku poni\u0161tavanja demonizacije \u0161i\u0161mi\u0161a, koja je 2020. godine kulminirala zbog navodne povezanosti demoniziranoga kineskoga \u0161i\u0161mi\u0161a i pandemije. <\/p>\n

         <\/p>\n

        \n

        \"\"<\/p>\n

        Foto 3: Ultrazvu\u010dni detektor ili detektor \u0161i\u0161mi\u0161a, iz kataloga izlo\u017ebe Tehnologije u biologiji: \u0160i\u0161mi\u0161i<\/strong> (Zagreb, Tehni\u010dki muzej Nikola Tesla, 2019. Zahvaljujem autorima\/autoricama izlo\u017ebe na dozvoli objavljivanja navedene fotografije.<\/em><\/p>\n<\/div>\n

         <\/p>\n

        \n

        \"\"<\/p>\n

        Foto 4: Daniela Mitterberger i Tiziano Derme (MAEID B\u00fcro f\u00fcr Architektur und transmediale Kunst): Oko Drugoga \u2013 <\/strong><\/em>Generiranje baze podataka uzoraka cvjetnih obrazaca pomo\u0107u algoritama strojnog u\u010denja<\/em><\/strong>,<\/em> 2019. \u00a9 MAEID. Preuzeto s web-stranice ovoga umjetni\u010dko-znanstvenoga projekta. Zahvaljujem umjetnicima na dozvoli objavljivanja ove fotografije.<\/em><\/p>\n<\/div>\n

         <\/p>\n

        Zaklju\u010dno o demoniziranom kineskom \u0161i\u0161mi\u0161u<\/strong><\/p>\n

        Zaklju\u010dno, \u0161to danas znamo<\/a>[280<\/strong><\/span>]<\/sup><\/a> o navodnom pandemijskom \u0161i\u0161mi\u0161u \u010dija je demonizacija zapo\u010dela izbijanjem SARS-a 2002\/2003. godine, nastavljena izbijanjem MERS-a 2012. godine, a kulminirala znanstvenim \u010dlankom objavljenom 2015. godine u \u010dasopisu Science <\/em>pod naslovom „\u0160i\u0161mi\u0161i su prirodni rezervoari koronavirusa sli\u010dnih SARS-u“ (Li, Shi, Yu, 2005: 676\u2013679) koji je otvorio znanstveni lin\u010d na \u0161i\u0161mi\u0161e (Tuttle 2017: 44)? Sigurno je da pitanje porijekla virusa p\/ostaje politizirano, kao i pitanje cjepiva, a neki kineski diplomati i dr\u017eavni mediji podupiru teorije po kojima virus potencijalno potje\u010de iz neke druge zemlje, kao \u0161to je globalno medijski virus gurnut na tr\u017enicu u Wuhanu za koju se pak u prvim danima pandemije isticalo da i nije inicijalno mjesto \u0161irenja virusa. U lokalnom kontekstu Tea Sumi\u0107 Mileti\u0107 u \u010dlanku objavljenom 27. o\u017eujka 2020. u Slobodnoj Dalmaciji<\/em>, sumira pandemijsku situaciju iz ekokriti\u010dke perspektive, i to svega nekoliko dana nakon progla\u0161enja pandemije i kod nas: Njezinim rije\u010dima: „\u0160ume su se nastavile kr\u010diti. Ako mislite da ih kr\u010de siroma\u0161ni kineski seljaci gladni mesa egzoti\u010dnih \u017eivotinja, promislite malo bolje. Odgovor se, kao i obi\u010dno, krije u profitu“ (Sumi\u0107 Mileti\u0107 2020).<\/p>\n

        Stoga zaklju\u010dno s obzirom na naslovnu dihotomiju na sve medijske infekcije \u0161i\u0161mi\u0161 kao da je postao zoometafora ili zoometonimija Huwaeia. <\/p>\n

         <\/p>\n

        \n
        \n

        <\/a>[259<\/strong><\/span>]<\/sup><\/a> 
        \nPritom istaknuto „znanstveno mi“ odnosi se u ovom slu\u010daju na narativno ja, koje u znanstvenim iskazima ponekad nije dobrodo\u0161lo.
        \n Napomena: Ovaj je rad nastao u sklopu projekta „Kulturnaanimalistika: interdisciplinarna polazi\u0161ta i tradicijske prakse \u2013 ANIMAL“ (IP-2019-04-5621, Hrvatska zaklada za znanost).<\/p>\n

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

        \n

        <\/a>[260<\/strong><\/span>]<\/sup><\/a> 
        \nNavedeni je apel objavljen 9. travnja 2020 godine na stranici Ministarstva gospodarstva i odr\u017eivog razvoja RH.<\/p>\n

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

        \n

        <\/a>[261<\/strong><\/span>]<\/sup><\/a> 
        \nO tome kako se kineska influencerica Wang Mengyun morala ispri\u010dati u jeku pandemije COVID-19 zbog \u0161i\u0161mi\u0161je juhe koju je jela u Palauu u Mikroneziji tri godine prije izbijanja pandemije, \u0161to je bio njezin fotosegment za njezin vlog<\/em> usp. O’Neill 2020.<\/p>\n

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

        \n

        <\/a>[262<\/strong><\/span>]<\/sup><\/a> 
        \n\u010clanice Five Eyes<\/em> (FVEY) ujedno su i stranke multilateralnog sporazuma UKUSA, ugovora o zajedni\u010dkoj suradnji u obavje\u0161tajnoj signalizaciji.<\/p>\n

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

        \n

        <\/a>[263<\/strong><\/span>]<\/sup><\/a> 
        \nUsp. „Velika Britanija se sprema zabraniti Huawei za izgradnju 5G mre\u017ee“.         https:\/\/www.slobodnaevropa.org\/a\/30723985.html<\/a><\/p>\n

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

        \n

        <\/a>[264<\/strong><\/span>]<\/sup><\/a> 
        \nDoniger pritom navodi da je Nagel mo\u017eda konja zamijenio \u0161i\u0161mi\u0161em kako bi svojoj „tvrdnji o nekomunikaciji pridodao dramati\u010dnost, s obzirom na to da \u0161i\u0161mi\u0161e ne volimo<\/em>; no ja tvrdim upravo to: konje mo\u017eemo razumjeti zato \u0161to ih volimo (i, tautolo\u0161ki, volimo ih zato \u0161to ih razumijemo)“ (Doniger, prema Coetzee 2004: 116). Osobno rekli bismo, Nagel ne uzima razmatranje \u0161i\u0161mi\u0161a u\/o pitanju svijesti odre\u0111enje koje navodi Wendy Doniger ve\u0107 zbog specifi\u010dne „\u0161i\u0161mi\u0161je fenomenologije“ \u2013 rije\u010d je o jedinom lete\u0107em sisavcu koji komunikaciju ostvaruje eholokacijom (sonar), a u odmoru zauzima obrnuti, vise\u0107i polo\u017eaj tijela \u2013 visi naglava\u010dke.<\/p>\n

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

        \n

        <\/a>[265<\/strong><\/span>]<\/sup><\/a> 
        \nUsp.         https:\/\/hr.wikipedia.org\/wiki\/Te%C5%A1ki_akutni_respiratorni_sindrom<\/a>.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[266<\/strong><\/span>]<\/sup><\/a> 
        \n„Jedna od reakcija na takve strahove je odstrel \u0161i\u0161mi\u0161a u nekim zemljama, koji ne samo da je nepotreban jer prema trenutnim znanstvenim podacima nema dokaza da virus SARS-CoV-2 prelazi sa \u0161i\u0161mi\u0161a na ljude, ve\u0107 je i \u0161tetan jer \u0161i\u0161mi\u0161i imaju va\u017enu ulogu u prirodi \u2013 spomenimo samo njihovu ulogu u suzbijanju \u0161tetnih insekata, npr. komaraca, koji mogu biti izvor zaraze za ljude.“ Izvornik:         http:\/\/secemu.org\/en\/dont-blame-bats-campaign-launch\/<\/a> (pristup 10. 1. 2012.)
        \n Zamjetno je da u strategiji povr\u0161inskoekolo\u0161ke za\u0161tite jedna druga vrsta postaje demonizirana (u navedenom slu\u010daju \u2013 komarac), kao \u0161to \u0107e npr. u reklami Raid<\/em> biti demoniziran \u017eohar. U kontekstu potrebe isticanja \u0161i\u0161mi\u0161je intrizi\u010dne vrijednosti valja istaknuti da su \u0161i\u0161mi\u0161i jedna od najugro\u017eenijih \u017eivotinjskih skupina u svijetu (Margu\u0161 2010: 6), tako npr. O\u0161trouhi \u0161i\u0161mi\u0161 (Myotis blythii<\/em>), koji obitava i u Nacionalnom parku Krka, ugro\u017een je sje\u010dom starih stabala s dupljama, upotrebom pesticida u \u0161umarstvu, uznemiravanjem porodiljnih kolonija i intenzivnom poljoprivredom (ibid.:42; usp. Zaradija 2021). <\/strong>Drago Margu\u0161 u knjizi o \u0161i\u0161mi\u0161ima u Nacionalnom parku Krka, me\u0111u ostalim, dokumentira kako \u0161i\u0161mi\u0161i \u010dine va\u017ean dio svjetskih ekosustava i pokazatelj su zdravog okoli\u0161a<\/em>. Va\u017enost \u0161i\u0161mi\u0161a u prirodi o\u010dituje se u biolo\u0161koj kontroli brojnosti kukaca i opra\u0161ivanju i \u0161irenju sjemenki biljaka. Neke su se tropske biljke tijekom evolucije prilagodile tomu da ih opra\u0161uju isklju\u010divo \u0161i\u0161mi\u0161i pa su oni direktno odgovorni za opstanak tropskih pra\u0161uma (Margu\u0161 2010: 6). No, tu je i pri\u010da<\/em> koja povezuje SARS i aktualnu pandemiju iz 2019.\/2020. godine koja je mo\u017eda posredovana istra\u017eivanjima Shi Zhengli s Wuhanskog instituta za virologiju (WIV), jedne od vode\u0107ih stru\u010dnjakinja za \u0161i\u0161mi\u0161e i koronaviruse, poznate kao kineska Batwoman<\/em>, koja je dobila me\u0111unarodno priznanje zbog otkri\u0107a SARS-a. U razgovoru za \u010dasopis Science <\/em>(Cohen 2020a) Shi Zhengli odgovorila je na neutemeljene optu\u017ebe Donalda Trumpa o wuhanskom laboratoriju kao izvori\u0161tu koronavirusa kao \u0161to je argumentirano pokazala da izvori\u0161te koronavirusa koji je inicirao SARS 2002.\/2003. nije u rudnicima provincije Yunnan. Zanimljiva je i njezina izjava kako nas je priroda kaznila zbog neciviliziranog pona\u0161anja i navika \u010dime otvara dubinskoekolo\u0161ku vizuru na pandemiju (ibid.).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[267<\/strong><\/span>]<\/sup><\/a> 
        \nNazivaju ih „mokrim” jer prodava\u010di \u010desto kolju \u017eivotinje pred kupcima. Zamjetno je da se kao prva vijest o covidu-19 pro\u0161irila la\u017ena vijest da su uzro\u010dnik pandemije mokre tr\u017enice u Wuhanu (Cohen, 2020, http).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[268<\/strong><\/span>]<\/sup><\/a> 
        \nUsp. Peticija protiv iskori\u0161tavanja \u017eivotinja;         http:\/\/www.prijatelji-zivotinja.hr\/arhiva.php\/?id=5985<\/a>
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[269<\/strong><\/span>]<\/sup><\/a> 
        \nIzvornik:         https:\/\/www.independent.co.uk\/news\/world\/americas\/peta-coronavirus-billboard-tofu-pandemic-animal-rights-iowa-a9532716.html<\/a>
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[270<\/strong><\/span>]<\/sup><\/a> 
        \nVirolog Robert Webster dokazao je pti\u010dje podrijetlo svih ljudskih gripa; navedeno je nazvao „teorijom koko\u0161injca“ koja podrazumijeva da „virusi odgovorni za ljudske pandemije vuku neke od gena virusa uzgajane peradi“. „Gripa, kako se ispostavilo, ovisi o na\u0161em odnosu prema pticama“ (Foer 2012: 117). „Trebamo li misliti da 50 milijardi bolesne, lijekovima nakljukane peradi \u2013 peradi koja je primordijalni izvor svih virusa gripe \u2013 ima utjecaj na stvaranje novih patogena koji napadaju ljude? A \u0161to je s 500 milijuna svinja uzgojenih u zato\u010deni\u0161tvu kojima je naru\u0161en imunolo\u0161ki sustav?“ (ibid: 125).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[271<\/strong><\/span>]<\/sup><\/a> 
        \nAutori izlo\u017ebe su Katarina Ivani\u0161in-Kardum iz Tehni\u010dkog muzeja Nikola Tesla, Marija Crn\u010devi\u0107 iz Javne ustanove rezervat Lokrum, Daniela Hamidovi\u0107 iz Hrvatskog biospeleolo\u0161kog dru\u0161tva, Henry Schofield i Vincent Wildlife Trust iz Ujedinjenog Kraljevstva i Dina Rnjak iz Geonatura d.o.o.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[272<\/strong><\/span>]<\/sup><\/a> 
        \nVi\u0161e o izlo\u017ebi usp. katalog izlo\u017ebe i         https:\/\/www.lokrum.hr\/blog\/vijesti\/tehnologije-u-biologiji-sismisi-2\/#.<\/a> Sve podatke o izlo\u017ebi preuzimam iz navedena dva izvora.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[273<\/strong><\/span>]<\/sup><\/a> 
        \nIstra\u017eivanja \u0161i\u0161mi\u0161a na Lokrumu suvremenim tehnologijama kao \u0161to su primjena bat detektora i telemetrije na izlo\u017ebi su dokumentirana filmom. Zahvaljujem autoru filma Borisu Krstini\u0107u \u0161to mi je omogu\u0107io ponovno gledanje filma.
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[274<\/strong><\/span>]<\/sup><\/a> 
        \nDetektor za \u0161i\u0161mi\u0161e (engl. bat detector<\/em>) je ure\u0111aj koji se koristi za otkrivanje prisutnosti \u0161i\u0161mi\u0161a tako \u0161to pretvara njihove ultrazvu\u010dne signale u zvu\u010dne frekvencije.<\/p>\n

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

        \n

        <\/a>[275<\/strong><\/span>]<\/sup><\/a> 
        \nUsp.         http:\/\/museums.hr\/en\/exhibition\/details\/7638\/tehnologije-u-biologiji-sismisi<\/a><\/p>\n

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

        \n

        <\/a>[276<\/strong><\/span>]<\/sup><\/a> 
        \nRije\u010d je o festivalu Touch Me (Zagreb, Croatia) kustoskoga tima Kontejner.         https:\/\/www.kontejner.org\/projekti\/touch-me\/-7-doticemo-nove-buducnosti\/<\/a>
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[277<\/strong><\/span>]<\/sup><\/a> 
        \nSegment izlo\u017ebe OPEN \u2013 Living Beings and Their Dangerous Liaisons <\/em>na Touch Me festivalu 2020.kurirale su Tereza Tekli\u0107 i Olga Majcen Linn.<\/p>\n

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

        \n

        <\/a>[278<\/strong><\/span>]<\/sup><\/a> 
        \nVi\u0161e o projektu usp.         http:\/\/emare.eu\/artist\/maeid-%E2%80%93-tizian-derme-daniela-mitterberger<\/a>
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[279<\/strong><\/span>]<\/sup><\/a> 
        \nZoolo\u0161ki vrtovi kao specisti\u010dka mjesta za \u017eivotinje \u010desto su u novije doba prostori odr\u017eavanja popularno-stru\u010dnih programa za djecu, \u0161to je jedan od znakova suvremene shizofrenije na\u0161ega odnosa prema \u017eivotinjama. Jednako tako i umjetni\u010dki projekt The „Eye of the Other“<\/em> svoje istra\u017eivanje nije proveo na terenu, u habitatu \u0161i\u0161mi\u0161a koji se hrane nektarom ve\u0107 u strogo kontroliranim uvjetima Be\u010dkoga zoolo\u0161koga vrta gdje se nalazi kolonija navedenih \u0161i\u0161mi\u0161a. Pritom projekt nije nastao u okviru ni\u0161e zooetike (Derme & Mitterberger 2020).
        \n<\/span><\/p>\n<\/div>\n

        \n

        <\/a>[280<\/strong><\/span>]<\/sup><\/a> 
        \nIstaknuto „znanstveno mi“, kao \u0161to sam ve\u0107 istaknula, odnosi se u ovom slu\u010daju na narativno ja, koje u znanstvenim iskazima ponekad nije dobrodo\u0161lo, no u ovom se primjeru referira samo singularno.
        \n<\/span><\/p>\n<\/div>\n

         <\/p>\n

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

        Coetzee, J . M. 2004. \u017divot \u017eivotinj\u00e2<\/em>. Zagreb: AGM.<\/p>\n

        Cohen, Jon. 2020. „Wuhan Seafood Market May Not Be Source of Novel Virus Spreading Globally”. Science<\/em>. Dostupno na: https:\/\/www.sciencemag.org\/news\/2020\/01\/wuhan-seafood-market-may-not-be-source-novel-virus-spreading-globally<\/a> (pristup 10. 2. 2021.).<\/p>\n

        Cohen, Jon. 2020a. „Wuhan Coronavirus Hunter Shi Zhengli Speaks Out“. Science<\/em>, Dostupno na: https:\/\/science.sciencemag.org\/content\/369\/6503\/487<\/a> (pristup 27. 2. 2021.).<\/p>\n

        Derme. Tiziano & Daniela Mitterberger \u00a9 MAEID. 2020. „The Bat That Therefore I am \u2013 Exploring The Eye of the Other“. Interviewed by Rob La Frenais. https:\/\/www.makery.info\/en\/2020\/11\/18\/la-chauve-souris-que-donc-je-suis-the-eye-of-the-other-de-daniela-mitterberger-tiziano-derme\/ pristup 27. 2. 2021.).<\/a><\/p>\n

        \u0110ur\u0111evi\u0107, Goran i Suzana Marjani\u0107. 2020. „\u0160i\u0161mi\u0161. 1. \u0160i\u0161mi\u0161 u popularnoj kulturi i mitologiji prije COVID-a. 2. O fiktivnim i ugro\u017eenim \u0161i\u0161mi\u0161ima, navodnom uzro\u010dniku i prijenosniku koronavirusa iz Wuhana ili kako je to biti \u0161i\u0161mi\u0161 u doba bolesti COVID-19“. U: Politi\u010dki leksikon: pandemije <\/em>(ur. Zlatko Buka\u010d, Biljana Ka\u0161i\u0107, Jelena Kupsjak, Atila Luki\u0107 i Gordan Maslov). Dostupno na: https:\/\/www.politicki-leksikon.com\/sismis-demonizirani-kineski-sismis\/<\/a> (pristup 27. 2. 2021.).<\/p>\n

        \u0110ur\u0111evi\u0107, Goran i Suzana Marjani\u0107. 2021. „What is It Like To Be a Bat in the Time of Covid-19, or How Many Pandemics Could We Have“. Studia Mythologica Slavica <\/em>24: 24\u201360.<\/p>\n

        \u0110ur\u0111evi\u0107, Goran i Suzana Marjani\u0107. 2022. <\/strong>„Dubinskoekolo\u0161ka pri\u010da o demoniziranom kineskom \u0161i\u0161mi\u0161u ili kako je to biti \u0161i\u0161mi\u0161 u doba pandemije bolesti COVID-19“. U: COVID-19 u humanisti\u010dkoj perspektivi. <\/em>ur.Ivana Katarin\u010di\u0107, Jelena Markovi\u0107, Ines Prica, Ana-Marija Vuku\u0161i\u0107. Zagreb: Institut za etnologiju i folkloristiku, str. 285\u2013300.<\/p>\n

        Gordon, Michael R., Warren P. Strobel and Drew Hinshaw. 2021. „Intelligence on Sick Staff at Wuhan Lab Fuels Debate on Covid-19 Origin“. The Wall Street Journal<\/em>, 23. svibnja 2021. https:\/\/www.wsj.com\/articles\/intelligence-on-sick-staff-at-wuhan-lab-fuels-debate-on-covid-19-origin-11621796228<\/a> (pristup 27. 2. 2022.).<\/p>\n

        Gr\u017eini\u0107, Marina. 2005. Estetika<\/em> kibersvijeta i u\u010dinci derealizacije<\/em>. Zagreb, Sarajevo: Multimedijalni institut, Ko\u0161nica. <\/p>\n

        Ivani\u0161in-Kardum, Katarina, Crn\u010devi\u0107, Marija, Hamidovi\u0107, Daniela, Henry Schofield and the Vincent Wildlife Trust, Rnjak, Dina, 2019. Tehnologije u biologiji: \u0160i\u0161mi\u0161i. Technologies in Biology: Bats. <\/em>Zagreb: Tehni\u010dki muzej Nikola Tesla.<\/p>\n

        Laird, Betta. 2018. Bat.<\/em> Islington, London: Reaktion Books.<\/p>\n

        Li, Wendong; Zhengli Shi i Meng Yu. 2005. “Bats Are Natural Reservoirs of SARS-Like Coronaviruses“. Science<\/em> 310\/5748: 676\u2013<\/strong>679.<\/p>\n

        Margu\u0161, Drago. 2010. \u0160i\u0161mi\u0161i Nacionalnog parka „Krka“<\/em>. \u0160ibenik: Javna ustanova Nacionalni park Krka. Mazija, Mirna. 2020. „\u0160i\u0161mi\u0161i ne prenose virus COVID-19“. https:\/\/mingor.gov.hr\/vijesti\/sismisi-ne-prenose-virus-covid-19\/5838<\/a><\/p>\n

        Marjani\u0107, Suzana. 2020. „O fiktivnim i ugro\u017eenim \u0161i\u0161mi\u0161ima, navodnom uzro\u010dniku i prijenosniku koronavirusa iz Wuhana ili kako je to biti \u0161i\u0161mi\u0161 u doba bolesti COVID-19“. U: Politi\u010dki leksikon: pandemije <\/em>(ur. Zlatko Buka\u010d, Biljana Ka\u0161i\u0107, Jelena Kupsjak, Atila Luki\u0107 i Gordan Maslov). Dostupno na: https:\/\/www.politicki-leksikon.com\/sismis-demonizirani-kineski-sismis\/<\/a> (pristup 27. 2. 2021.).<\/p>\n

        Marjani\u0107, Suzana. 2021. „Of fictitious and endangered bats, alleged catalysts and carriers of the coronavirus from Wuhan, or, what is it like to be a bat during the COVID-19 pandemic?“. U: \u0110ur\u0111evi\u0107, Goran i Suzana Marjani\u0107. „What is It Like To Be a Bat in the Time of Covid-19, or How Many Pandemics Could We Have “. Studia Mythologica Slavica <\/em>24: 24\u201360.<\/p>\n

        Nagel, Thomas. 1974. ‘’ What Is It Like to Be a Bat?’’ The Philosophical Review<\/em> 83\/4: 435\u2013450.<\/p>\n

        O’Neill, <\/strong>Marnie, 2020. „Chinese influencer Wang Mengyun, aka ‘Bat soup girl’ breaks silence“. https:\/\/www.news.com.au\/lifestyle\/food\/food-warnings\/chinese-influencer-wang-mengyun-aka-bat-soup-girl-breaks-silence\/news-story\/63ef0cec5b6d448d1843e2e1bcadb14d<\/a> (pristup 27. 2. 2021.).<\/p>\n

        Peters, Michael A. 2020. “\u017di\u017eek on China and COVID-19: Wuhan, authoritarian capitalism, and empathetic socialism in NZE“. Educational Philosophy and Theory <\/em>https:\/\/www.tandfonline.com\/doi\/epub\/10.1080\/00131857.2020.1801122?needAccess=true<\/a> (pristup 27. 2. 2021.).<\/p>\n

        Schild, Leonard, Chen Ling, Jeremy Blackburn, Gianluca Stringhini, Yang Zhang, Savvas Zannettou, 2020. “Go eat a bat, Chang!”: An Early Look on the Emergence of Sinophobic Behavior on Web Communities in the Face of COVID-19. https:\/\/www.researchgate.net\/publication\/340523411_Go_eat_a_bat_Chang_An_Early_Look_on_the_Emergence_of_Sinophobic_Behavior_on_Web_Communities_in_the_Face_of_COVID-19<\/a> (pristup 27. 2. 2021.).<\/strong><\/p>\n

        Sumi\u0107 Mileti\u0107, Tea. „Ako smo koronavirus dobili od \u0161i\u0161mi\u0161a, stanje bi uskoro moglo biti puno gore. Uni\u0161tavanjem \u0161uma \u017eivotinje sti\u017eu me\u0111u ljude, a s njima i virusi”. Slobodna Dalmacija,<\/em> 27. 3. 2020. Dostupno na: https:\/\/slobodnadalmacija.hr\/vijesti\/svijet\/ako-smo-koronavirus-dobili-od-sismisa-stanje-bi-uskoro-moglo-biti-puno-gore-unistavanjem-suma-zivotinje-stizu-medu-ljude-a-s-njima-i-virusi-1012250<\/a> (pristup 13. 2. 2021.).<\/p>\n

        Touch Me Festival<\/em>. European Media Art Platform. ur. Luja \u0160imunovi\u0107, Jurica Mlinarec. Zagreb: Kontejner, biro suvremene umjenti\u010dke prakse. <\/p>\n

        Tuttle, Merlin D., 2017. „Give Bats a Break“. Issues in Science and Technology<\/em> 33\/3, 41\u201350.<\/strong><\/p>\n

        Zaradija Ki\u0161, Antonija. 2021. „\u0160i\u0161mi\u0161: od pu\u010dkih predaja i predod\u017ebe bluda do COVID-a.“ Narodna umjetnost: hrvatski \u010dasopis za etnologiju i folkloristiku<\/em> 58 (1): 147\u2013163.<\/p>\n

         <\/p>\n

        Bat or Laboratory \u2013 revived debates
        \non the Origin of the Coronavirus in June 2021<\/span><\/strong><\/p>\n

         <\/p>\n

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

         <\/span><\/p>\n

        As the debate on the origin of the coronavirus was revived in June 2021, within the well-known dichotomy bat or laboratory, the article provides an overview of the facts we learned in Croatia during the coronavirus pandemic about this unfortunately demonized and alleged cause of the pandemic. One of the reasons for reviving the debate on the unexplained origin of the coronavirus was an article published in May 2021 in the Wall Street Journal based on an unpublished report by US intelligence claiming that three scientists from the Wuhan Institute of Virology (WIV) were hospitalized in November 2019 year, almost two months before China reported a new disease.
        \nA large impact in the positive media image of bats in Croatia was carried out by the Association for Bat Conservation Tragus, which warned, for example, regarding Zagreb and the so-called good sides of the earthquake (in 2020) since the endangered bat colonies found refuge in the cracks of many Zagreb buildings after the earthquake (cf. Mazija 2021).<\/em><\/p>\n

         <\/p>\n

        Key words:<\/em><\/strong> demonised Chinese bats, the coronavirus pandemic, speciesism.<\/em><\/p>\n

         <\/span><\/p>\n

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

         <\/span><\/p>\n

        \n

        II PRIKAZI KNJIGE<\/p>\n\n\n\n
        \"inmediasres\"<\/p>\n

        \n  11(20)#11 2022<\/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

        \n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

         <\/p>\n

         <\/p>\n

        Lucija Dujmovi\u0107<\/span><\/p>\n

        Alma Mater Europaea<\/p>\n

        Recenzija knjige<\/p>\n

        Naslov knjige: Online novinarstvo: <\/p>\n

        slu\u017eenje javnosti ili podila\u017eenje publici<\/p>\n

        Autor: Sini\u0161a Kova\u010di\u0107<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (186 KB), Hrvatski, Str. 3407 – 3410
        \n<\/span><\/strong><\/a><\/p>\n

         <\/p>\n

         <\/p>\n

        Izdava\u010d : Hrvatska sveu\u010dili\u0161na naklada – Sveu\u010dili\u0161te u Mostaru, Zagreb 2021., 256 str. <\/p>\n

        (ISBN 978-953-169-474-2)<\/p>\n

        Dr. sc. Sini\u0161a Kova\u010di\u0107, autor znanstvene knjige „Online novinarstvo: slu\u017eenje javnosti ili podila\u017eenje publici<\/strong>“ poznat je otprije javnosti kao novinar, urednik, komentator, reporter i koordinator s Hrvatske radiotelevizije. Nakon HRT-a, svoju karijeru je nastavio na Hrvatskoj katoli\u010dkoj mre\u017ei, gdje danas radi kao glavni urednik. Ova knjiga je njegov knji\u017eevni prvijenac, ali u znanstvenim krugovima je poznati suautor znanstvenih radova na temu medija i online medija, manipulacije u medijima, kriznom komuniciranju i odnosima s javno\u0161\u0107u. Uz to, sudjelovao je i na vi\u0161e me\u0111unarodnih i znanstvenih konferencija, te svoje znanje i ste\u010deno iskustvo dijeli studentima na medijskim kolegijima kao aktivni predava\u010d na Poslovnom veleu\u010dili\u0161tu Zagreb i Visokom u\u010dili\u0161tu za komunikacijski management Edward Bernays.<\/p>\n

        Znanstvena knjiga „Online novinarstvo: slu\u017eenje javnosti ili podila\u017eenje publici“ <\/strong>novo je, tvrdo tiskano djelo na hrvatskome jeziku koje je javnosti predstavljeno u studenom 2021. godine u sklopu online <\/em>„Me\u0111unarodne konferencije PR & Media Days Mostariensis“ odr\u017eanoj u Mostaru. To je djelo koje je sinergijski povezalo njegovo profesionalno znanje i dva provedena znanstvena istra\u017eivanja koje je autor predstavio i obranio u svojoj doktorskoj disertaciji na temu: „Razvoj novinarstva na mre\u017enim elektroni\u010dkim publikacijama \u2013 slu\u017eenje javnosti ili podila\u017eenje ukusu publike (Utjecaj informati\u010dkih tehnologija na interakciju s korisnicima dru\u0161tvenih mre\u017ea u Republici Hrvatskoj)“. Knjiga nema prethodnih online recenzija, ali su kratki recenzijski osvrt na nju napravili red. prof. dr. sc. <\/em>Zoran Tomi\u0107 i njegov mentor izv. prof. dr. sc. <\/em>Ilija Musa, \u010diji se osvrti nalaze na zadnjoj korici knjige. Objavu Kova\u010di\u0107eve knjige popratili su i neki online <\/em>portali u Republici Hrvatskoj i Bosni i Hercegovini, poput: vecernji.hr, tportal.hr, laudato.hr, zagreb.info, mediadaily.biz, glasistre.hr, stvarmo.ba, fena.ba\u2026<\/p>\n

        Sadr\u017eajno gledaju\u0107i, knjiga je strukturalno pisana (sadr\u017ei uvod, obradu teme i zaklju\u010dak) i konceptualno je tematizirana na 10 zasebnih poglavlja, od koja se dva zadnja odnose na popis literature, grafikona, slika i tablica. Tematska poglavlja koje knjiga sadr\u017ei su sljede\u0107a:<\/p>\n

        (1) Regulacija i upravljanje internetom u Republici Hrvatskoj; (2) Teorijski kontekst online medija; (3) Tehnike i alati medijskih manipulacija; (4) La\u017ene vijesti \u2013 fake news<\/em>; (5) Istra\u017eivanje razvoja novinarstva news <\/em>portala na dru\u0161tvenim mre\u017eama Facebook i Twitter; (6) Dubinski intervjui; (7) Rezultati istra\u017eivanja dubinskog intervjua; (8) Zaklju\u010dak; i dodatak popisa (9) Literature; i (10) Popis grafikona, slika i tablica.<\/p>\n

        U prvom poglavlju (1) „Regulacija i upravljanje internetom u Republici Hrvatskoj“, autor iznosi \u010dinjenice o regulaciji medija od strane Zakona u republici Hrvatskoj te pregled Upisnika pru\u017eatelja elektroni\u010dkih publikacija.<\/p>\n

        Drugo poglavlje (2) „Teorijski kontekst online medija“ donosi pregled masovnog komuniciranja i masovnih medija, prilagodba informacija internetskom okru\u017eenju, dru\u0161tvene mre\u017ee i odnos online <\/em>novinarstva i PR-a te utjecaj ogla\u0161iva\u010da na online <\/em>medije. U ovom poglavlju autor analizira i ra\u0161\u010dlanjuje odre\u0111ene pojmove koje potkrjepljuje primjerima i obja\u0161njenjima uz navo\u0111enje izvora.<\/p>\n

        Tre\u0107e poglavlje (3) „Tehnike i alati medijskih manipulacija“ govori o digitalnoj manipulaciji i ulozi dru\u0161tvenih mre\u017ea u dijeljenju dezinformacija. Autor u ovom poglavlju zasebno obra\u0111uje tehnike i alate kojima se digitalni mediji slu\u017ee u manipulaciji javnosti i medij; poput cenzura, diskreditacija, manipulacija fotografijom i tako dalje.<\/p>\n

        U \u010detvrtom poglavlju (4) „La\u017ene vijesti \u2013 fake news<\/em>“ autor se doti\u010de dezinformacija i \u0161irenja la\u017enih vijesti u online medijima. Ve\u0107i dio poglavlja se odnosi na temu transparentnost vijesti, izvora i novinarskih procesa. Autor spominje i mjere koje poduzima Europska komisija te Kodeks prakse za borbu protiv dezinformiranja. Tako\u0111er, autor isti\u010de i klju\u010dne to\u010dke Europske komisije i vi\u0161edimenzionalni pristup u suzbijanju la\u017enih vijesti i dezinformacija.<\/p>\n

        U petom poglavlju (5) „Istra\u017eivanje razvoja novinarstva news <\/em>portala na dru\u0161tvenim mre\u017eama Facebook i Twitter“ autor predstavlja istra\u017eivanje na temu identi\u010dnu nazivu poglavlja te sistemati\u010dno zapo\u010dinje s uvodom u kojem pi\u0161e o dosada\u0161njim istra\u017eivanjima online <\/em>novinarstva i online <\/em>medija u Hrvatskoj te nastavlja s istra\u017eiva\u010dkim metodama (analiza sadr\u017eaja), ciljem istra\u017eivanja, uzorkom koji se koristio u istra\u017eivanju, konceptu istra\u017eivanja, statisti\u010dkim podacima i rezultatima istra\u017eivanja koje je autor prikazao pomo\u0107u slika, tablica i grafikona. Posebnost ovog poglavlja je ta \u0161to autor iznosi zaklju\u010dke na temelju provedenog istra\u017eivanja.<\/p>\n

        \u0160esto poglavlje (6) „Dubinski intervjui“ donosi rezultat provedenog dubinskog intervjua kojim se ispitalo „mi\u0161ljenje, stavovi i iskustva novinara o utjecaju razvoja dru\u0161tvenih mre\u017ea na stanje u novinarstvu u Hrvatskoj“. Autor je proveo intervju pomo\u0107u elektroni\u010dke po\u0161te i kontaktirao deset urednika i novinara news <\/em>portala koji su tijekom 2019. godine redovito objavljivali novinarske tekstove. Intervjuu je jam\u010dio povjerljivost i anonimnost sudionicima, a od deset potencijalnih sudionika, njih pet se odazvalo i dobrovoljno sudjelovalo u intervjuu. Autor je u ovom poglavlju prikazao popis pitanja koje je poslao urednicima i novinarima, te je vizualno prikazao i tablicu s deset news <\/em>medija uz koje je naveo koji online <\/em>mediji su odgovorili na njegova pitanja, a koji nisu. Za lak\u0161u analizu podataka koji su pru\u017eili ispitanici, autor je svakome dodijelio veliko po\u010detno slovo abecede, od A do E te je diferencirao ispitanike po spolu i novinarskom iskustvu.<\/p>\n

        U sedmom poglavlju (7) „Rezultati istra\u017eivanja dubinskog intervjua“ donosi odgovore ispitanika na postavljena pitanja u intervjuu. Iako autor u ovom poglavlju nigdje ne navodi koje po\u010detno slovo abecede pripada kojem news <\/em>portalu (od onih pet koji su se odazvali intervjuu); odgovori koje nude ispitanici daju naznaku o kojem portalu govore; \u0161to bi moglo dovesti do toga da bi neki pojedinci koji poznaju i prate online medije mogli povezati ispitanike s odgovaraju\u0107im portalom. Na kraju ovog poglavlja, autor daje interpretaciju rezultata dubinskog intervjua te potvr\u0111uje hipotezu i neke pomo\u0107ne hipoteze.<\/p>\n

        U osmom poglavlju (8) „Zaklju\u010dak“ autor svrsishodno sa\u017eima i objedinjuje iznesene podatke i rezultate istra\u017eivanja u \u010detrnaest zaklju\u010dnih to\u010daka.<\/p>\n

        Poglavlje (9) „Literatura“ donosi pregled literature i internetskih izvora spomenutih u radu; a u poglavlju (10) „Popis grafikona, slika i tablica“ se mo\u017ee prona\u0107i popis svih spomenutih tablica, grafikona i slika u knjizi.<\/p>\n

        Budu\u0107i da je ovo znanstvena knjiga, stil pisanja koji autor upotrebljava je tako\u0111er znanstveni. Iznose se \u010dinjenice i citati koji se potkrjepljuju izvorima te se parafrazira tekst uz spominjanje izvora. Tre\u0107e poglavlje u kojem autor pi\u0161e o tehnikama i alatima medijskih manipulacija evidentno proizlazi iz autorovog novinarskog i medijskog iskustva. To se ponajvi\u0161e vidi u potpoglavlju 3.2.9. „Manipulacija medija“ (str. 106.-120.) koje otvara spominju\u0107i francuskog sociologa P. Bourdieua, koji je tako\u0111er pisao o manipulaciji medija. S obzirom na to da autor u ovom poglavlju koristi vlastite rije\u010di i obja\u0161njenja, uz parafraziranje, primje\u0107uje se odmak od strogog znanstvenog stila pisanja jer u opisu pi\u0161e sljede\u0107e: „Ima puno ljudi koji ne \u010ditaju nijedne dnevne novine i koji se tijelom i du\u0161om predaju portalima i televiziji kao jednom izvoru informacija“ (str. 106.). Autor poetskim izrazom nagla\u0161ava predaju puno ljudi „tijelom i du\u0161om“ jednom izvoru informacija za \u0161to nema znanstvenih dokaza. Primije\u0107eno je i kako autor u nastavku poglavlja ponegdje koristi epitete, antonime i fraze uz koje nagla\u0161ava neke primjere koriste\u0107i dramati\u010dne rije\u010di. Jedan primjer takvih rije\u010di pojavljuje se u dijelu gdje govori o „Rije\u010dima“ kao obliku manipulacije za koje nagla\u0161ava da mogu „opusto\u0161iti i unakaziti“ (str. 108.).<\/p>\n

        Procjenjuju\u0107i cjelokupnu knjigu kao znanstveno djelo ono je prikladno i metodolo\u0161ki pisano te zadovoljava sve temeljne metodolo\u0161ke kriterije. U smislu analize podataka, na\u010din obrade pojedinih tema je sistemski i analiti\u010dan. Autor u knjizi argumentirano i promi\u0161ljeno iznosi \u010dinjenice te radi komparaciju i analizu sadr\u017eaja i podatka s kojim dolazi do mjerodavnih i ispravnih zaklju\u010daka. Knjiga je svakako doprinos znanosti i kao takvo relevantno djelo koje nudi nove spoznaje o online <\/em>medijima i online <\/em>novinarstvu u odnosu s dru\u0161tvenim mre\u017eama te daje odgovor na pitanje koliku ulogu u kreiranju sadr\u017eaja imaju ogla\u0161iva\u010di u hrvatskim online <\/em>medijima.<\/p>\n

        Naslov knjige je atraktivan te sadr\u017eaj i teme poglavlja odgovaraju naslovu. Knjiga se zbog svoje tematike, podataka i informacija koje su iznesene mo\u017ee smatrati sveu\u010dili\u0161nim ud\u017ebenikom koji \u0107e poslu\u017eiti akademskoj zajednici, a posebice studentima koji studiraju neki od smjerova komunikacijskih znanosti, ali i bilo kojim drugim osobama koje zanimaju mediji i novinarstvo. Iako je pisana znanstvenim stilom, \u010ditateljima \u0107e biti jasna i pregledna jer tijek izlaganja te\u010de logi\u010dnim slijedom. Tekst je dodatno popra\u0107en vizualnim elementima, poput slika, grafikona i tablica koje zorno i prikladno prikazuju podatke i informacije koje autor iznosi i analizira. Vjerujem da \u0107e na\u010dini manipulacija medija biti posebno intrigantne svakom \u010ditatelju, kao i zaklju\u010dci koji dokazuju kako se mediji i stvaranje sadr\u017eaja u online <\/em>okru\u017eenju podre\u0111uju vi\u0161e ogla\u0161iva\u010dkoj industriji nego politi\u010darima i vlasnicima portala.<\/p>\n

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        II PRIKAZI KNJIGE<\/p>\n\n\n\n
        \"inmediasres\"<\/p>\n

        \n  11(20)#12 2022<\/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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        Ivana Babi\u0107<\/span><\/p>\n

        Alma Mater Europaea
        \nbivana0109@gmail.com<\/p>\n

        Recenzija knjige<\/p>\n

        Naslov knjige: Persuazivne poruke – Proces utjecanja<\/p>\n

        Autori: William L. Benoit, Pamela J. Benoit<\/span><\/strong><\/p>\n


        \nPuni tekst: pdf (161 KB), Hrvatski, Str. 3411 – 3413
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        Izdava\u010d : “Naklada Slap”, Jastrebarsko, tvrdi uvez, 278 stranica, 2013. <\/p>\n

        Ameri\u010dki stru\u010dnjaci za komunikologiju, William L. Benoit i Pamela J. Benoit, svojim dosada\u0161njim radom proteklih par desetlje\u0107a dali su veliki doprinos komunikolo\u0161koj znanosti. William L. Benoit ugledni je profesor komunikologije na Sveu\u010dili\u0161tu Alabama u Birminghamu i svjetski priznat znanstvenik u podru\u010dju politi\u010dke komunikacije. U komunikolo\u0161koj znanosti poznat je i po razvoju teorije “Image Restoration”, kao bitnog dijela kriznog komuniciranja u odnosima s javno\u0161\u0107u, odnosno razradi strategije kojom se popravlja naru\u0161eni imid\u017e pojedinca, tvrtke ili organizacije. Osim velikog broja pisanih znanstvenih i stru\u010dnih djela, sav svoj dosada\u0161nji znanstveni doprinos te iskustva koja su stekli rade\u0107i na presti\u017enim ameri\u010dkim Sveu\u010dili\u0161tima, William L. i Pamela J. Benoit odlu\u010dili su objediniti knjigom Persuazivne poruke \u2013 proces utjecaja. Knjiga je nastala na temelju vi\u0161egodi\u0161njeg rada i istra\u017eivanja te kao vodi\u010d za uspje\u0161nu persuaziju obuhva\u0107a sva do sada ste\u010dena teoretska znanja i iskustva samih autora, ali i mnogih drugih autora o \u010dijim se teorijama diskutira kroz knjigu.<\/p>\n

        S obzirom da je persuazija ili mo\u0107 uvjeravanja prisutna svakodnevno u svim ljudskim aktivnostima, tema je brojnih rasprava i predmet prou\u010davanja jo\u0161 od doba starih gr\u010dkih filozofa. Iako se o persuaziji \u010desto misli kao o propagandi i manipulaciji, o persuaziji se zapravo treba razmi\u0161ljati kao o legitimnom sredstvu za postizanje nekog cilja. Upravo tom mi\u0161lju i teorijama vode se William i Pamela Benoit autori knjige. Kombinacijom teorijskog i prakti\u010dnog znanja te spoznaja o persuazivnoj komunikaciji i njezinim metodama kroz ovu knjigu nastoje \u010ditatelju dati dublji uvid u definiciju persuazije i persuazivnih metoda u komunikaciji te kako ju koristiti, ali i razlikovati od manipulacije i prijevare.<\/p>\n

        Unato\u010d tome \u0161to se od autora, kao od ameri\u010dkih stru\u010dnjaka za komunikologiju, o\u010dekivalo da svojim znanstvenim iskustvom i pristupom ovu knjigu u\u010dine razumljivom samo znanosti i komunikolo\u0161kim stru\u010dnjacima, knjiga je sadr\u017eajno obuhvatila puno \u0161iru publiku. Svojim prakti\u010dnim, no u prvom redu i sveu\u010dili\u0161nim (\u0161kolskim) pristupom teorijskom dijelu persuazije,\u00a0 knjigu su u\u010dinili zanimljivom, lako razumljivom i primjenjivom u svakodnevnom \u017eivotu \u2013 i znanosti i struci i u\u010deniku, ali i ‘’slu\u010dajnom’’ \u010ditatelju.<\/p>\n

        Iako je knjiga u velikom dijelu \u010dvrsto teorijski utemeljena na istra\u017eivanjima, idejama i teorijama drugih autora, \u0161to saznajemo ve\u0107 u predgovoru knjige, autori knjige sva do sada ste\u010dena znanja i ideje analiziraju iz potpuno druge perspektive i daju im potpuno novi, svje\u017ei opis. Stavljaju\u0107i jak naglasak na specifi\u010dne i prakti\u010dne savjete ovu knjigu iz stru\u010dne literature vrlo lako pretvaraju u ud\u017ebenik i ozbiljan vodi\u010d za uspje\u0161nu persuaziju u svakodnevnom \u017eivotu.<\/p>\n

        Knjiga je podijeljena u \u010detiri dijela, a svaki dio \u010dini vi\u0161e logi\u010dno strukturiranih poglavlja. U prvom dijelu knjige, kroz \u010detiri poglavlja, autori se bave persuazijom i klju\u010dnim pojmovima vezanim uz njezino definiranje. Smatraju\u0107i da je uspje\u0161na persuazija rezultat pomnog promi\u0161ljanja i sprovo\u0111enja odgovaraju\u0107e taktike u djelo, autori u svojoj knjizi persuaziju definiraju kao proces koji \u2026’’po\u010dinje osobom (izvorom ili uvjeravateljem) koja ima cilj. Izvor zatim stvara poruku koja \u0107e, po mi\u0161ljenju izvora potaknuti druge (auditorij) na postizanje cilja. Ta poruka mora biti prenesena auditoriju, onima koji mogu pomo\u0107i ostvariti govornikov cilj.“ (Benoit W., Benoit P.; 2008.; str. 9). Tako\u0111er, uz preciznu definiciju, ve\u0107 na samom po\u010detku isti\u010du i \u010detiri osnovne komponente na kojima se temelji uspje\u0161na persuazija: 1.Persuazija je usmjerena na cilj; 2. Persuazija je proces; 3. Persuazija uklju\u010duje ljude; 4. Persuazija mo\u017ee stvarati, mijenjati ili ja\u010dati stavove (Benoit W., Benoit P.; 2008.; str. 9).<\/p>\n

        Osim brojnih primjera iz svakodnevnog \u017eivota kojima olak\u0161avaju \u010ditatelju prepoznati persuaziju kao svakodnevno prisutnu pojavu u svim segmentima \u017eivota, u prvom poglavlju autori obja\u0161njavaju i va\u017enost teorije o persuaziji i prirodi i u\u010dincima izvora persuazivnih poruka, a zavr\u0161avaju s raspravom o etici, eti\u010dkoj odgovornosti i kori\u0161tenju etike iznose\u0107i svoja eti\u010dka stajali\u0161ta vezana uz pojam persuazije \u010dime i zavr\u0161avaju dio koji je \u010ditatelju dao sve osnovne informacije o persuaziji koje su mu potrebne za razumijevanje ostalih poglavlja u knjizi.<\/p>\n

        Drugi dio knjige sastoji se od pet poglavlja, a uz tre\u0107i dio, kako i sami autori napominju, ovaj dio predstavlja sr\u017e i svrhu nastanka knjige. Drugi dio knjige kroz svoja poglavlja u\u010di \u010ditatelja kako stvoriti u\u010dinkovitu persuazivnu poruku. Kako detaljno odrediti svrhu, razumjeti primatelje poruka te kako im se prilagoditi. Tako\u0111er, autori u ovom dijelu knjige daju i jasne upute i hodogram kako uz pomo\u0107 ideja i potpora za poruke pretvoriti ideje u rije\u010di te kreirati persuazivnu poruku. Posljednje poglavlje drugog dijela knjige autori posve\u0107uju vrstama primatelja poruka kao najbitnijem faktoru pri kreiranju poruke, kako ih prepoznati te kako im pristupiti.<\/p>\n

        U tre\u0107em dijelu knjige, kroz tri poglavlja, autori raspravljaju i analiziraju tri va\u017ene teorije persuazije \u2013 teoriju konzistencije, teoriju socijalnog prosu\u0111ivanja\/anga\u017eiranosti i teoriju razumne akcije. Iako se radi o teoretski najslo\u017eenijem dijelu knjige, detaljno analiziraju\u0107i svaku od teorija autori se trude kroz brojne grafove, tablice i primjere \u010ditatelju daju priliku da svaku od njih shvati i zajedno s njima ujedno i testira.<\/p>\n

        \u010cetvrti i posljednji dio knjige u svoja dva poglavlja bavi se kriti\u010dno\u0161\u0107u konzumenata persuazivnih poruka te raspravlja o persuaziji u reklamiranju i persuaziji u politi\u010dkim kampanjama. U ovom dijelu knjige, autori u\u010de \u010ditatelja kako procijeniti i kritizirati persuazivne poruke politi\u010dkih kampanja i reklama te na \u0161to obratiti pozornost kako bi u budu\u0107nosti, pri izboru za sebe, donesli odluku u skladu sa svojim potrebama i preferencijama.<\/p>\n

        Odlomci i poglavlja u knjizi slo\u017eeni su u logi\u010dne cjeline \u010dime je \u010ditatelju znatno olak\u0161ano pra\u0107enje sadr\u017eaja od po\u010detka do kraja knjige. Osim osvrta, svaki odlomak u knjizi zavr\u0161ava s rje\u010dnikom koji obuhva\u0107a kratke definicije termina i svih klju\u010dnih pojmova koji se pojavljuju u tekstu. Takav pregled sadr\u017eaja u kombinaciji s rje\u010dnikom na kraju svakog odlomka, \u010ditatelju koji nema ‘’bitnijeg’’ predznanja i doticaja s komunikolo\u0161kom strukom i\/ili znano\u0161\u0107u, daje dovoljno informacija da shvati i primjeni sadr\u017eaj knjige bez asistencije dodatne literature.<\/p>\n

        Umjerena kompilacija znanstvenih teorija i velikog profesionalnog iskustva autora te veliki broj hipoteti\u010dkih i stvarnih primjera, \u010dine ovu knjigu dinami\u010dnom i zanimljivom od prvog do posljednjeg poglavlja. Iako autori William i Pamela Benoit u svojoj knjizi ne donose nove teorije o persuaziji, njihova analiza postoje\u0107ih i odli\u010dna ilustracija \u010dine ovu knjigu aktualnom, relevantnom i druga\u010dijom od sli\u010dnih knjiga na istu temu, \u0161to ju, bez obzira tko je njezin \u010ditatelj, zaslu\u017eeno stavlja u kategoriju ne samo stru\u010dne i znanstvene literature ve\u0107 i prakti\u010dnog, svakodnevno primjenjivog ud\u017ebenika i komunikolo\u0161kog vodi\u010da kroz persuaziju.<\/p>\n

         <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

             11(20)#1 2022 This journal is open access and this work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. DOI 10.46640\/imr.11.20.1 UDK 001.9:070.16*Covid-19 Izvorni \u010dlanak Original scientific paper Primljeno: 22.1.2022.     Zdenko Zeman, Marija Geiger Zeman and Martina Topi\u0107 Ivo Pilar Institute of Social Sciences Maruli\u0107ev trg 19, Zagreb, Croatia zdenko.zeman@pilar.hr […]<\/p>\n","protected":false},"author":2,"featured_media":398,"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":[98],"tags":[747,664,742,740,607,749,287,586,741,154,743,751,755,570,753,746,738,739,757,744,754,756,750,752,548,745,748,737],"class_list":["post-409","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-in-medias-res-broj-20","tag-a-phylosophical-view-of-the-problem-of-symbolic-form","tag-amela-delic","tag-branimir-felger","tag-challenges-of-the-new-hybrid-ecosystem-celebrities","tag-dario-terzic","tag-digital-soul-media-intermediation-of-emotions-in-the-internet-age","tag-divna-vuksanovic","tag-fahira-fejzic-cengic","tag-fake-news-and-covid-19","tag-fulvio-suran","tag-generation-y-between-challenges-of-the-knowledge-society-and-demands-of-a-prosperous-market","tag-hybrid-news-for-hybrid-times","tag-ivana-babic","tag-kresimir-katusic","tag-lucija-dujmovic","tag-luksuz-metastaza-koncepta-konzumerizma","tag-marija-geiger-zeman","tag-martina-topic","tag-pamela-j-benoit","tag-philosophy-in-the-time-of-media-and-technological-information-madness","tag-recenzija-knjige-naslov-knjige-online-novinarstvo-sluzenje-javnosti-ili-podilazenje-publici-autor-sinisa-kovacic","tag-recenzija-knjige-naslov-knjige-persuazivne-poruke-proces-utjecanja-autori-william-l-benoit","tag-s-one-strane-znanosti-koronavirus-kao-drustvena-cinjenica-i-problem-moderne-utjecaj-pandemije-na-svakodnevni-zivot","tag-sismis-ili-laboratorij-ponovno-ozivljene-rasprave-o-porijeklu-koronavirusa-lipnja-2021-godine","tag-suzana-marjanic","tag-vjekoslav-daic","tag-zamaskirani-jezik-mrznje-provokativni-i-zapaljivi-naslovi","tag-zdenko-zeman","et-has-post-format-content","et_post_format-et-post-format-standard"],"acf":[],"yoast_head":"\n\u010clanci IN MEDIAS RES br. 20 - In Medias Res - \u010casopis centra za filozofiju medija<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u010clanci IN MEDIAS RES br. 20 - In Medias Res - \u010casopis centra za filozofiju medija\" \/>\n<meta property=\"og:description\" content=\"     11(20)#1 2022 This journal is open access and this work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. 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DOI 10.46640\/imr.11.20.1 UDK 001.9:070.16*Covid-19 Izvorni \u010dlanak Original scientific paper Primljeno: 22.1.2022.     Zdenko Zeman, Marija Geiger Zeman and Martina Topi\u0107 Ivo Pilar Institute of Social Sciences Maruli\u0107ev trg 19, Zagreb, Croatia zdenko.zeman@pilar.hr […]","og_url":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/","og_site_name":"In Medias Res - \u010casopis centra za filozofiju medija","article_published_time":"2022-05-26T16:23:41+00:00","og_image":[{"width":70,"height":103,"url":"https:\/\/centar-fm.org\/inmediasres\/wp-content\/uploads\/sites\/2\/2022\/05\/inmediasresno1malo20.png","type":"image\/png"}],"author":"Super User","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Super User","Est. reading time":"394 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/#article","isPartOf":{"@id":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/"},"author":{"name":"Super User","@id":"https:\/\/centar-fm.org\/inmediasres\/#\/schema\/person\/ae49dcc23965665608f66120db8245a4"},"headline":"\u010clanci IN MEDIAS RES br. 20","datePublished":"2022-05-26T16:23:41+00:00","mainEntityOfPage":{"@id":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/"},"wordCount":78806,"commentCount":0,"image":{"@id":"https:\/\/centar-fm.org\/inmediasres\/index.php\/clanci-in-medias-res-br-20\/#primaryimage"},"thumbnailUrl":"https:\/\/centar-fm.org\/inmediasres\/wp-content\/uploads\/sites\/2\/2022\/05\/inmediasresno1malo20.png","keywords":["A Phylosophical view of the Problem of Symbolic Form","Amela Deli\u0107","Branimir Felger","Challenges of the \u201cNew Hybrid Ecosystem\u201d: Celebrities","Dario Terzi\u0107","Digital Soul: Media Intermediation of Emotions in the Internet Age","Divna Vuksanovi\u0107","Fahira Fejzi\u0107-\u010cengi\u0107","Fake News and COVID-19","Fulvio \u0160uran","Generation Y \u2013 Between Challenges of the Knowledge Society and Demands of a Prosperous Market","Hybrid News for Hybrid Times","Ivana Babi\u0107","Kre\u0161imir Katu\u0161i\u0107","Lucija Dujmovi\u0107","Luksuz \u2013 metastaza koncepta konzumerizma","Marija Geiger Zeman","Martina Topi\u0107","Pamela J. 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