17 research outputs found

    Medijski in tehnološki obrat: resnica, oblast in odporništvo

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    The author focuses on two very topical subjects of contemporary humanistic research: media and technology, and discusses the related turns and their correlations. The widespread debate on media testifies to the complexity of this phenomenon and its related issues. Poststructuralists, as well as scholars in cultural and media studies, have acknowledged that the media are never the transparent and neutral interfaces which represent the reality existing out there. The medium is no mediator, but the locus of truth. Whoever operates the medium operates the truth. The author uses the term media turn to refer to this epistemological turn. We are currently witnessing an emergence of the debate on technology. Technology intervenes into the ÔÇťnaturalÔÇŁ and develops non-existent systems, thus raising the question of ultimate creativity and divinity, particularly in reference to synthetic biology. The author contemplates the leverage and functioning of contemporary technology and discusses an increasingly influential theory that technology is not subordinated to man, but vice versa: people have become functionaries of technology. The author proposes that this be referred to as the technological turn.Avtorica posve─Źa pozornost dvema zelo aktualnima predmetoma sodobnega humanisti─Źnega raziskovanja: medijem in tehnologiji, ter preizpra┼íuje povezana obrata in njune korelacije. ┼áiritev debate o medijih pri─Źa o kompleksnosti tega fenomena in povezanih vpra┼íanjih. Poststrukturalisti, kot tudi avtorji kulturnih in medijskih ┼ítudijev, so pripoznali, da medij ni nikoli transparenten in nevtralen vmesnik, ki re-prezentira realnost, ki bi obstajala tam ─Źez. Medij ni mediator, temve─Ź mesto resnice. Tisti, ki operira z medijem, operira z resnico. S terminom medijski obrat se avtorica nana┼ía na ta epistemolo┼íki obrat. V sodobnosti smo pri─Źe tudi vzponu debat o tehnologiji. Tehnologija intervenira v ÔÇťnaravnoÔÇŁ in razvija nikoli obstoje─Źe sisteme, s ─Źimer se odpira vpra┼íanje ultimativne ustvarjalnosti ali bo┼żanskosti, ┼íe zlasti v navezavi na sintezno biologijo. Avtorica premisli vzvode in funkcioniranje sodobne tehnologije in preizpra┼ía vse bolj vplivno teorijo, da tehnologija ni podrejena ─Źloveku, temve─Ź obratno, so ljudje postali funkcionarji tehnologije. Predlaga, da to poimenujemo tehnolo┼íki obrat

    Playing with a living presence

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    Kultura in umetni┼íke prakse v ─Źasu poznega kapitalizma

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    Art Addressing Consumerism in the Age of Late Capitalism

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    The globalized world is still in the phase of late capitalism, signified by the establishment of multinational corporations, globalized markets and work, mass consumerism, and the fluid flow of capital. The question of the criticism of art towards the capitalist system, its ideology and consumerism is therefore still current and is readdressed in this contribution. Considering this issue, the recurrent theoretical reference is American materialist aesthetician Fredric Jameson, who was among the first to define culture and art in the context of late capitalism. In the article the author revises JamesonÔÇÖs critique of art addressing consumerism and demonstrates that he did not consider the relevance of the means of consumption as regards the cultural logic of late capitalism. She claims that in order to open space to examine contemporary art as being critical towards consumerism, one also needs to consider the ontological changes that have occurred to art and pay attention to performative art, while Jameson was still focused on a representational mode of art. By being performative and also setting out actions outside of spaces that were traditionally designed for art, in the space meant for consumption, art has much a better chance to act politically, which Jameson wished to see from art which addresses consumerism but did not. The author argues that if one is to seek critical or political art in late capitalism, those would be the cases of artistic interventions into the means of consumption

    the role of regenerative medicine in biopower

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    Mo┼żnosti sodobne estetike

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    Aleš Erjavec: Postmodernism, postsocialism and beyond. Newcastle, Cambridge Scholars Publishing, 2008

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    Aleš Erjavec: Postmodernism, postsocialism and beyond. Newcastle, Cambridge Scholars Publishing, 2008, 196 str

    (Bio)art and manipulation of the living

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    The author argues that the modern project of disenchanting the world through genome discovery has not succeeded, but has rather raised numerous anthropological, sociological and philosophical questions related to the role of biotechnology in contemporary society. Biotechnical discourse has been introduced into the art sphere in the late eighties mostly due to V. Flusser, who suggested the artists to start manipulating living material. Today bioart is one of the key fields of contemporary art. It is defined mostly through manipulation of living material, but also through intervening discourse concerning biotechnology and the questions it raises. This corresponds to a characteristic tendency of contemporary art where an art project represents some sort of a platform for manipulation of information. Thus, art is fundamentally socially, anthropologically and philosophically engaged, it becomes an important sphere of discourse. On one hand art is linked to the experimental, which provides for a certain degree of unpredictability - in this manner it is an expression of the characteristic contemporary perception that there is no such thing as an absolute path towards truth and universal knowledge, since one is always bound to various levels of interpretation and understanding. On the other hand the questioning of existing meanings, values and convictions makes art inclined to manipulation of social or political force, which makes it essentially socially engaged, and results in the production of new meanings and points of view. The author establishes how contemporary philosophical comprehension propels the evolution of bioart. From the initial link to computer culture and genetics, after the year 2000, bioart has focused on direct manipulation of living matter. This is a distinctly interdisciplinary field of art as contemporary bioartistic projects demand the collaboration of specialists from other spheres of activity, mostly scientists. The work itself is performed in laboratory conditions and demands specific biotechnological tools and expertise. Bioart is one of the contemporary socially-representative practices of discourse, intervening current questions arising from the increasing use of biotechnology. The author examines the persistence of certain modern paradigms, the attempts to rationaliye the world, the striving towards totality and the absolute, the progress and the freedom, which are inherent in the contemporary understanding of the role of natural science in society. The tendencies, observable in the use and development of new biotechnological tools and procedures as well as biological knowledge, are demonstrated by the persistency of the purpose to accomplish the modern project of disenchanting the world, while on the other hand it is becoming clear that a project like this is substancially elusive and unfeasibl

    The Openness of Art. The Poetics of Art and Loss of Autonomy of Art

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    With the concept of the open work, Umberto Eco addressed the poetics to which art turned with modernism. In the article the author analyzes the notion of the open work, the references relevant to this concept and the relations of this concept to similar concepts introduced by other scholars such as Roland Barthes. Scholars discussing the openness of art were deriving primarily from Paul Val├ęry, and they distanced themselves from the myth of the artist as a genius and from the concept of art as a vehicle for communication to transmit the truth and instead emphasized the performative character of art. Art on this track aimed at poetic use of its own media. The author argues that EcoÔÇÖs definition of the open work comprises different dimensions of openness, i.e. the semantic and formal openness of the works of art, as well as the notion addresses the perceptual openness of the world. The author examines how the concept of the openness of art placed stress on the relevance of interpretation instead of the authorÔÇÖs intention and how it was part of a broader debate on interpretation and weak thought. By establishing autonomous poetic situations and exploring the means of art, art began performing philosophical discussions about itself, wherein, as the author argues, the notion of the open work is linked to the notions of the end or the death of art and denotes the dissolution of art into philosophy. Other sorts of dissolution of art which mean the death of art regard the dissolution of art into culture in a broader sense and its subordination to propagandist or political goals, which means art loses its autonomy. Finally, the author questions participatory art as a potential contemporary successor of the open work and argues that this mode of art, though it actively involves the participant, remains semantically closed

    Media and the Technological Turn: Truth, Power and Resistance

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    The author focuses on two very topical subjects of contemporary humanistic research: media and technology, and discusses the related turns and their correlations. The widespread debate on media testifies to the complexity of this phenomenon and its related issues. Poststructuralists, as well as scholars in cultural and media studies, have acknowledged that the media are never the transparent and neutral interfaces which represent the reality existing out there. The medium is no mediator, but the locus of truth. Whoever operates the medium operates the truth. The author uses the term media turn to refer to this epistemological turn. We are currently witnessing an emergence of the debate on technology. Technology intervenes into the ÔÇťnaturalÔÇŁ and develops non-existent systems, thus raising the question of ultimate creativity and divinity, particularly in reference to synthetic biology. The author contemplates the leverage and functioning of contemporary technology and discusses an increasingly influential theory that technology is not subordinated to man, but vice versa: people have become functionaries of technology. The author proposes that this be referred to as the technological turn
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