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U ovom radu analiziram pojam realnosti, utjecaj medija na percepciju i njihovu međusobnu povezanost na osnovi shvaćanja francuskog filozofa Jeana Baurillarda. Njegov je rad iznimno važan za raščlambu utjecaja masovnih komunikacija, ali i same (predodžbe) realnosti. I to s obzirom da se smatra začetnikom simulacijske teorije budući da tvrdi da su znakovi naslijedili realnost odnosno da je naše iskustvo puka simulacija (stvarnosti). Prvo poglavlje sam posvetila samom fenomenu postmodernosti koji predstavlja novo povijesno razdoblje koje odmjenjuje epohu modernosti. Namjera mi je bila približiti njen fenomen koji se javlja u korak s globalizacijom i tehnološkim razvitkom te širi svoj utjecaj na polja od arhitekture do filozofije i medija. Umjesto na klase, stavlja prvenstveno naglasak na pitanje identiteta i njegove reprezentacije. Zatim se osvrćem na razvoj Baudrillardovog postmodernog mišljenja. Baudrillard je od zagovornika marksističke teorije prešao na njenog oštrog kritičara. Francuski filozof na temelju strukturalističkih teza, koje ne izostavlja od kritike, iznosi svoju inačicu. Potom sam navela Baudrillardove teze koje se prvenstveno odnose na njegovu medijsku kritiku, među kojima je glavna ta da mediji tvore svijet simulacije tvorbom znakova. Zatim sam dublje ušla u polje znaka, koje je prema Baudrillardu nerazdvojivo od ideologije. U tom sam dijelu prikazala kako je upravo znak taj koji ima presudnu ulogu u potrošnji, a ne ˝korisnost˝ kako je to Marx tvrdio. No on ne umanjuje vrijednost robe, tvrdeći da se tek kroz nju ostvaruje kao medij društvene razmjene. Iz tih razloga on predviđa nastanak političke ekonomije koja objedinjuje robu i znak u jedan ´kod´ te koja ima presudnu ulogu u upravljanju nad ´realnim´. Nakon toga započinje treće poglavlje u kojem je središnje pitanje Baudrillardova teorija simulacije. Prikazala sam koje su njene glave postavke, i sam razvoj te teorije kroz prijašnja razdoblja od renesanse do danas. Od tri navedena simulakruma, posebno sam se osvrnula na onaj treći koji je i posljednji te se odnosi na naše doba. Nakon što sam navela primjere simulacije, osvrnula sam se na ulogu medija u konstruiranju simulacije počevši od Baudrillardove kritike samog učinka i forme medija koja ´onemogućuje odgovor´. Posebno sam se osvrnula na njegovu reinterpretaciju MacLuhanove teze ´Medij je poruka´, nadograđujući njeno značenje u suvremenom kontekstu rastuće umjetne inteligencije. Zatim sam pokušala kroz Baudrillarda odgovoriti na pitanje jesu li mediji žrtve simulacije ili su pak njeni saučesnici? Pred kraj sam razmortila koncept kraja povijesti u kojem Baudrillard iznosi jedne od svojih posljednjih teza. Na samom kraju sam iznijela svoj zaključak svega navedenog., In this thesis, I analyze the concept of reality, the influence of the media on perception and their mutual connection based on the understanding of the French philosopher Jean Baurilard. His work is extremely important for analyzing the influence of mass communications, but also the concept of reality. He is considered as the originator of simulation theory since he claims that signs have inherited reality, that our experience is a mere simulation (of reality). I dedicated the first chapter to the very phenomenon of postmodernity, which represents a new historical period that replaces the era of modernity. My intention was to approach its phenomenon, which appears to keep peace with globalization and technological development and spreads its influence on fields from architecture to philosophy and the media. Instead of class, it primarily emphasizes the issue of identity and its representation. Then I emphasize the development of Baudrillard's postmodern thinking. Baudrillard went from being an advocate of Marxist theory to its harsh critic. He based his theory on structuralist theses, which are not exempt from criticism. Then I listed Baudrillard's theses, which are primarily related to his media criticism, the main one being that the media create a world of simulation by creating signs. In regards to that I delved deeper into the field of signs, which according to Baudrillard is inseparable from ideology. In that part, I showed that it is precisely the sign that plays a decisive role in consumption, and not `utility' as Marx claimed. However, he does not diminish the value of the commodity, claiming that it is realized only through it as a medium of social exchange. For these reasons, he predicts the emergence of a political economy that unites goods and signs into one 'code' and which plays a decisive role in the management of the 'real'. After that, the third chapter begins, in which the central question of Baudrillard's simulation theory is discussed. I have shown what are its main assumptions, and the very development of that theory through previous periods from the Renaissance to the present day. Of the three mentioned simulacrums, I particularly referred to the third one, which is also the last one and refers to our era. After giving examples of simulation, I referred to the role of the media in constructing the simulation, starting with Baudrillard's critique of the effect itself and the form of the media that 'prevents the answer'. I particularly focused on his reinterpretation of MacLuhan's thesis ´The medium is the message´, building on its meaning in the contemporary context of growing artificial intelligence. Then, through Baudrillard, I tried to answer the question whether the media are victims of simulation or are they its accomplices? Before the end, I consider the concept of the end of history in which Baudrillard presents one of his last theses. At the very end, I presented my conclusion to all of the above.

The purpose of this essay is to analyze award-winning author Ray Bradbury’s novel Fahrenheit 451 through the lens of postmodernism. The focus will be on identifying symbols and signs of the hyperreal when it comes to freedom of speech, censorship, and technology through Jean Baudrillard’s orders of simulacra from his book Simulacra and Simulation. The images of Ray Bradbury’s dystopian society in Fahrenheit 451 are analyzed, as well as the main characters and their relationship to technology, books, censorship, and freedom of speech. This essay also argues that the hyperreal is relevant today and has been throughout history if knowledge is suppressed or controlled by society as presented in Fahrenheit 451.

Detta är en uppsats som tar sig an, på ett semantiskt sätt, ordet Gud och människors syn på vad ordet Gud har för betydelse. Genom att göra en idéanalys av Jonna Bornemarks analys av Nicolas Cusanus för att se om detta kan vara en väg för att ge en mera mångfasetterad bild och värde av ordet Gud och gudsbilden till den scientistiska människan i Sverige. Uppsatsen tar avstamp i att försöka visa på de nycklar Cusanus filosofi ger genom Jonna Bornemarks tolkning av Cusanus i Det omätbaras renässans. Nicholas Cusanus levde mellan åren 1401 och 1464. Cusanus var astronom, matematiker, teolog och filosof. En verklig renässansmänniska. Cusanus var en man som var på gränsen mellan skolastiken på medeltiden och renässansens mera kosmopolitiska livshållning som tiden gav. Cusanus var starkt influerad av den mystiken som bland annat Mäster Eckhart stod bakom. Den mystika negativa teologin som talade om att det är enklare att beskriva vad den kristna Gud inte är, än att berätta vad som Gud är. Cusanus studerade både Aristoteles och den Plotinos nyplatonska filosofin. Denna filosof kom jag kontakt med genom Cusanus lilla bok Gudsseendet med stort innehåll, vilket han skrev som en guide till munkarna i Tegernsee. Den behandlar den sinnliga bilden och de begrepp som gör att man kan se det som kan finnas bakom den ikoniska bilden. Den ikoniska bilden uppfattar Cusanus vara det djup som en bild kan vara bärare av. Det symboliska värdet på den bild som väcker åskådarens reflektion och reaktion. Den ikoniska bilden är bärare av detta djup som kan vara en utlösande av det personliga symboliska värdet för den specifika bilden. I Gudseendet är det en ikon som Cusanus kallar för ”Guds ikon”. Cusanus öppnade dörrar för mig i hur man kan tänka om att inte ser med de fysiska sinnena, utan måste använda sitt inre öga för att kunna se det som är större än det jag bara kan med de fysiska sinnena erfara. Startpunkten till denna uppsats är att kanske kunna förstå hur människan kan komma närmare det som inte sinnligt kan erfaras, den kunskapen menar Cusanus behöver människan för att vara en hel människa. Bornemark tar Cusanus filosofi till dagens samhällsproblem med att samhället alltid vill mäta allting. Studiens inriktning är att försöka svara på de frågor som uppsatsen ställer inför Bornemarks tolkning av Cusanus filosofi. På grund av corona utfördes framläggningen online.

This analysis of Repertorio Español’s 2013 production of Lope de Vega’s Fuenteovejuna in New York City focuses on the elements of communication, space, and violence. In director Julián Mesri’s staging, modern media or technology at times replace the human messengers of the original text, which has the double effect of distancing the audience emotionally from the events reported while calling attention to the mediums themselves and their agendas. In this contemporary urban world of simulacra, space seems compressed and violence appears conceptual. Mesri presents Fuenteovejuna as a Baudrillardian hyperreality, in which representations eclipse “reality.” In doing so, however, he does not so much alter Lope’s original as highlight, with modern touches, a dynamic that pervades the original play, Lope’s corpus, and much of Spanish Golden Age drama. Mesri’s vision may appear strikingly contemporary, yet the mode of representation it foregrounds is classic Lope., Este análisis de una producción de Fuenteovejuna en Nueva York en el año 2013 se enfoca en los elementos de la comunicación, el espacio y la violencia. En el montaje del director Julián Mesri, la tecnología y los medios modernos de comunicación a veces sustituyen a los mensajeros humanos del texto original, lo cual produce el doble efecto de distanciar al público emocionalmente de la noticia contada y de llamar la atención al medio en sí y sus motivos ulteriores. En este mundo urbano y contemporáneo estructurado a base de las simulaciones, los espacios quedan reducidos y la violencia parece conceptual. Si bien Mesri presenta al pueblo de Fuenteovejuna como una hiperrealidad baudrillardiana en que la representación eclipsa la realidad, su montaje no distorsiona el original de Lope, sino que pone de relieve, con toques modernos, una dinámica ya manifiesta en la obra, el corpus de Lope y buena parte del teatro aurisecular. Por más que la visión de Mesri parezca asombrosamente contemporánea, el modo de representación que destaca es, literalmente, “de Lope”.

Artykuł przedstawia, w jaki sposób Wolfgang Welsch i Jean Baudrillard problematyzują tendencję do estetyzacji zarówno w praktykach indywidualnych, jak i społecznych, która prowadzi do podporządkowania rzeczywistości logice symulacji. Welsch podejmuje refleksję nad procesem estetyzacji, który jego zdaniem od drugiej połowy ubiegłego wieku opanował wszystkie manifestacje życia społecznego. Zmiany w świadomości i ujmowaniu rzeczywistości nazywa głęboką estetyzacją. Zaś Baudrillard wskazuje na konsekwencje związane z rosnącym znaczeniem estetyzacji dla społeczeństwa postmodernistycznego. Symulacja, którą można rozumieć jako autoreferencyjność systemu, wywiera na społeczeństwie dojmujące wrażenie świata odartego z sensu. Przywołanie przykładów takich symulakrów, jak Bóg, sztuka czy Disneyland, służy pokazaniu, w jaki sposób transformacja stosunków społecznych - zachodząca w wyniku osadzania doświadczenia w nowych mediach i estetycznych wzorach egzystencji - z tym, co powinno być realnością, prowadzi do hegemonii logiki symulacji. Druga część tekstu podważa na polach filmoznawstwa, estetyki i ontologii kategorię symulacji Baudrillarda. Krytyka - demonstrująca aporie i niewystarczalność podejścia Baudrillarda i Welscha - przeprowadzona zostaje w odniesieniu do prac Gillesa Deleuze’a, Viléma Flussera i Quentina Meillassoux. The paper begins with following these paths of Wolfgang Welsch’s and Jean Baudrillard’s theories that problematise the tendency of aesthetising both individual and social practices, which consequently lead to reality suppressed under the logic of simulation. Welsch attempts to reflect on the processes of aesthetisation that in his opinion from the second half of the last century subdues all manifestations of social life. Welsch’s term deep aesthetisation includes changes in consciousness and the recognition of reality. While Baudrillard delineates the implications associated with the increasing importance of aesthetisation in the postmodern society. Simulation, which can be described as autoreferentiality of the system, leaves the society with an overwhelming affect that the world is stripped of sense. Following the examples of simulacra of God, art and Disneyland, the paper demonstrates, how this transformation of social relations with that, what supposed to be reality - as a result of embedment of experience in the new media and the aesthetic patterns of existence - ends up in the hegemony of the logic of simulation. Then, the second part of the paper is dedicated to challenge, mainly, Baudrillard’s notion of simulation from fields of aesthetics, cinema studies and ontology. This critique - demonstrating aporias and insufficiency of Baudrillard’s and Welsch’s approaches - is carried out in reference to works of Gilles Deleuze, Vilém Flusser and Quentin Meillassoux.