/ 1968
CRITICAL DEFINITION OF THE CONCEPT OF “SERBIAN PHILOSOPHY”
/in Serbian Philosophic Culture /by Kcs21blAAThe author discusses the critical definition of the concept of “Serbian Philosophy” by Slobodan Žunjić, who, in his basic research of Serbian philosophy based on a new methodological approach, substantially revises results of previous studies of domestic philosophical heritage. Significance of Žunić’s philosophical works, in author’s opinion, does not only lie in a more complete view of the development of Serbian philosophy, but also in the precise philosophical concepts which put a sharp focus on the different stages of development of the Serbian philosophy over a much longer period than so far known. The author especially analyzes Žunić’s concepts of criticism in Philosophy of Serbs, Philosophy in the Republic of Serbia, and suggests arguments why Žunić insists on using the term “Serbian philosophy.”
/ 1968
VIRTUAL IDENTITY AND MEDIA ILLUSION – THE TRUTH OF ILLUSSION, THE ILLUSSION OF TRUTH
/in Philosophy of Media /by Kcs21blAAThis work tries to answer the question whether the existence of virtual identity and cyber reality are only the most developed media sphere or the products made according to man’s need. The man wants to overcome spatial, time and experience frames and to come in touch with the other world (transcendental) using the tailormade, hybrid identity and communicating via computer technology. The world of relevant critical theoretical and philosophical understanding confronts the identity and the work of one human being traditionally understood as a well based category with unstable and changable characteristics of the identity created by the media. The latter mentioned identity presents the idealized version of the creation and its work that do not match each other. Those phenomena are theoretically analysed through virtual communication via interactive and 3D Internet sites (Facebook, Second life), but also following the influence of simulated reality on the process of speculated conscience and the experience that individuals have regarding themselves and the reality.
/ 1968
CONSCIOUSNESS SPECTACULARIZATION AND THE RURAL – SPECTACULAR CULTURAL PATTERN IN MASS MEDIA
/in Cultures of Rhythms and Spectacle /by Kcs21blAAThe paper depicts the process of consciousness spectacularization and the adoption of rural – spectacular cultural pattern via mass communication media in Serbia in the 2000–2005 period. Culturally, consciousness spectacularization via mass communication media, is in line with the process of cultural globalization and, when it comes to TV, is mostly reflected in non-critical overtaking of mass culture contents dominated by the products of global entertainment industry. In the tracks of Debord’s critical and theoretical principles, the paper theoretically considers the idea of media spectacle.
/ 1968
INTERPRETATIVITY OF NEWSPAPER REPORTING
/in Contemporary Journalism - Trends, Dilemmas and Challenges /by Kcs21blAASince the competition in the media market has been constantly growing in the last few decades, it could be expected that, fighting for citizens’ trust, media contents would become of higher quality. However, we witness that quite opposite process is ongoing and that interpretation as the core characteristic of high quality press is often neglected in the newspaper reporting. In order for readers to understand the problems journalists write about, it is necessary to present much more than just factual information to them since every reader is interested in what is happening in the society he lives in, and even more so in how such happenings will effect him personally. Exactly for this reason, there is a need to look into the interpretativity of domestic press which has gained the highest readers’ trust in the analysed period, with the aim to determine the level of interpretativity and engaged journalist approach – the basic elements of credible interpretation, yet most oftenly neglected.
/ 1968
IMAGES OF AN IMPOSSIBLE EVENT
/in Philosophy of Media /by Kcs21blAAThe text puts into focus the changing nature, dramatic actuality and expanded (bio-ethical) meaning of the suicidal phenomenon as a global cultural and media symptom of the first decade of the 21st century. Starting from radical examples of a suicidal protest as a political death ritual (the nature of which is here conceived by victims’ struggle for freedom, respect of human rights and emancipation of the oppressed working-class people), the analysis is supported by theoretical backgrounds among which the most remarkable place has been reserved for a study about the history of self-immolation by the British sociologist Michael Biggs. The text attempts to open up new fields of interpretation bordering the phenomenon of the image, on the one hand, and the phenomenon of suicide, on the other, in the context of contemporary everyday life and media culture under the globalization regime. One of the main goals, towards which this re-articulation of suicide as an ultimate cultural symptom of our times has developed, resides in the need to re-examine the complicity between the iconography of death (as a consequence of the radical self-destructive ritual) and the new imaginary of the ‘political’.
/ 1968
READING THE AMBASSADORS: FUNDAMENTAL NARCISSISM, SUBJECT ANNULMENT, AND YET ANOTHER SKETCH FOR A SELF-DESTRUCTIVE FUNCTION OF THE GAZE
/in (Lack Of) Culture /by Kcs21blAAThis text was born in the context of preliminary researches of the author in the field of picture analysis in which the function of the gaze itself is a decisive factor in the operation of annulment of the subject of gaze. The text starts from well known theoretic and art history interpretations of the picture The Ambassadors in which Hans Holbein the Younger, in the first half of the sixteeth century, counterposed not only optical nonlinear perspective against the dominant, central geometric perspective but also a geometric (linear, straight) subject to a different one: optical, ex-centric, scopic. The purpose of the paper is to wake up, once again, five centuries later, the static, fixated and focused observer (the symptom and main protagonist of a similarly static, fixated and focused culture of gaze) in order to take a radically different angle. Why? Because in displacing of the Holbein’s observer from the status quo position (by de-centering his gaze, his optical removal from the comfort of a fixed point of observance and his physical moving) the de-centered, excentric observer is offered an opportunity to once again, and every time anew, get actively involved in the historic switch to a different culture of gaze. And a different culture of gaze here implies the kind of culture which, due to a constant overstepping of the limits of the un-culture of gaze, leads us to believe that a different world is possible and leads us to a different perception of the world of the picture and a different perception of the picture of the world – different from the one in which the conservative, atavistic, self-sufficient, patriarchal and “patriotic“ culture keeps us prisoners of a hardened centralistic and stubbornly frontal and undesputably orthodox (straight) view of the world.
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