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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.

В данной статье мы попытаемся проанализировать позднее философское творчество Жана Бодрийяра, отправляясь от обозначенной им проблемы кризиса проекта глобального политического порядка, симптомом которого является теракт 11 сентября. Мы сделаем это с опорой на материал работ Бодрийяра 90-х и 2000х годов («Войны в заливе не было», «Дух терроризма», «Гипотезы о терроризме», «Под маской войны» и другие). Будет реконструирована логика, в соответствии с которой теракт 11 сентября 2001 года в Нью-Йорке оказывается выражением упадка проекта глобального политического порядка, в условиях которого он раскрывается в качестве современного западноевропейского политического мифа. Будут обсуждаться два ее ключевых аспекта: цивилизационный и медийный. Если первый определяется своего рода отрицательной диалектикой глобального и сингулярного (утверждение глобального, уничтожающее, по Бодрийяру, уникальные культуры и сообщества, несет за собой возрождение сингулярного на уровне простого отрицания глобального, выражением которого и оказывается терроризм), то второй – в дестабилизирующем воздействии самого медийного видеообраза 11 сентября, который выступает в качестве образа символического крушения западного проекта глобального порядка (обрушение его экономического и политического центров – Всемирного торгового центра и Пентагона) и триггера его социальной трансформации, при которой он теряет свои облик либерального проекта, направленного на защиту прав и свобод и человека и превращается в полицейский порядок, связанный с контролем, запугиванием и культом безопасности. Мы покажем, что Россия в контексте масштабного кризиса глобализации, развернувшегося после 11 сентября и продолжающегося по сей день невольно оказывается средством символической дестабилизации Запада., In the present article we will try to analyze the late philosophical creation of Jean Baudrillard pushing from drawn by him problem of global political order crisis with the 11/09/01 as it’s symptom. We’ll do it with the support on his works dated by the period of 1990 and 2000 (‘The Gulf War Did Not Take Place’, ‘The Spirit of Terrorism’, ‘Hypotheses on terrorism’, ‘Under the Mask of War’ and others). We will reconstruct logic, which makes 11/09/01 an expression of global political project decline in the frame of which it is disclosed as the modern West-European political myth. Two key aspects this logic will be considered: civilization and media. If the former is determinate by the negative dialectic of global and singular (affirmation of global, which, on Baudrillard, annihilate unique cultures and societies leads the resurrection of singular on the level of simple negating of global, expression of which terrorism becomes), the latter – in 11 September media image destabilization effect, which presents itself like an image of symbolic collapse of western project of global order (the crash of its economic and political centers – World Trade Centre and Pentagon) and trigger of its social transformation, in the frame of which it lost its liberal project form, directed on the human rights and freedom defense and becomes a police order, bounded with control, intimidation and security cult. We will show that Russia in the context of deep globalization crisis unfolded after 11/09/01 and continued in the present time becomes a mean on symbolic destabilization of the west.

This article would invent the trajectory of Jean Baudrillard, a French thinker who died in 2007 leaving a provocative, forceful and original work on the frontier between philosophy, sociology, anthropology and communication. Este artículo presenta la trayectoria de Jean Baudrillard, pensador francés que falleció en 2007 dejando una obra provocativa, contundente y original en la frontera entre filosofía, sociología, antropología y comunicación. Este artigo inventaria a trajetória de Jean Baudrillard, pensador francês que faleceu em 2007 deixando uma obra provocativa, contundente e original na fronteira entre filosofia, sociologia, a antropologia e comunicação.

Polarizacija između rata i mira u tradiciji filozofijske misli, poglavito u ontološkoj artikulaciji, često se veže za razlikovanje dobra i zla. U tome smislu, mir kao apsolutno i nepromjenjivo stanje zadobiva kategoriju dobra, dok rat kao promjenjivo stanje uz sebe veže nesavršenost ljudskoga svijeta i njemu pripadno metafizičko zlo (Leibniz). No shvati li se zlo kao praktičan problem (Svendsen), moguć je razgovor o inteligenciji zla (Baudrillard) te se postavlja pitanje o tome do koje se mjere treba uključiti u borbu za njegovo suzbijanje. Na tome tragu, u ovome radu promotrit će se neka od suvremenih tumačenja zla s naglaskom na novonastala sredstva borbe koja su često posredovana i potencirana različitim vrstama medijske manipulacije (terorizam). Istraživanje će poslužiti za pobliže određenje ontološkog statusa rata u medijski posredovanoj zbilji., In the tradition of philosophical thought, especially in the field of ontology, we often link polarization between war and peace with the distinction between good and evil. Accordingly, peace as the absolute and unchangeable condition is defined as good, while war as the changeable condition of an imperfect human world is attributed as a consequence of the metaphysical evil (Leibniz). However, if we understand evil as a practical problem (Svendsen), then the discussion shifts to the question about the intelligence of evil (Baudrillard), and the amount of our inclusion in its repression. Hence, in this paper we will observe some of the contemporary understandings of evil with the emphasis on the new modes of struggling, often intermediated by different kinds of media manipulations (terrorism). This paper will try to determine the ontological status of war in a media represented reality.

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.

The advanced stage of capitalism that we now live in has brought many changes to the way that society consumes and produces. One of the biggest shifts to the modern economy was the use of visual culture to distract, pacify, and exert power over the masses; a cultural change French theorist Guy Debord named the Society of the Spectacle. As a result, Debord and the Situationist International developed a movement of resistance to reclaim the territories of everyday life being eroded by the spectacle through separation and alienation. Since the term was coined the use of visual culture has accelerated and become even more pervasive in the postmodern world which led Jean Baudrillard to claim that the real has been replaced by simulation and hyperreality. This thesis explores this cultural shift to determine whether the practices of resistance theorized by Debord and the Situationists are still relevant as the reach of postmodernism increases. Link to associated video file: https://vimeo.com/64727252

Mass media have often been described as the “new public space” of the current democratic societies (Ortega, 2003: 61). The increased popularity of New Information and Communication Technologies (NICT) is certainly motivating a change in the paradigm: according to the Society of Devisers, it is linked to the notion of collectiveness, it is demystified and fragmented. That is to say, it is taken out of the journalistic showcases and transformed into something alive, incomplete, accessible and multiple. The new society, fissured and emotionally hyperactive, is crossed by the mirror-neurons. This society of anonymous individuals gives public space triggering bursts of energy and enables, in the multidirectional map of devisers, its own central nervous system, although in close connection with the human body. In the next article of revision, the authors describe some of the characteristics which define the advent of that social emergence.

Habermas, Baudrillard e McLuhan representam três das principais linhas científicas de análise global do fenómeno dos media e da sua interacção com a sociedade. No entanto, qualquer dessas análises é anterior à emergência da internet como meio massivo de distribuição de informação, com as manifestações que conhecemos hoje. O objectivo deste trabalho é analisar de que forma a internet actual se inscreve, ou não, nas teses de cada um desses autores, através do mapeamento das suas teses e das dos seus sucessores; e perceber se as características da internet obrigaram à revisão das teses desses autores, pelos próprios ou pelos seus sucessores. Examinaremos, por ordem cronológica, as teses de Marshal McLuhan, Jean Braudrillard e Jürgen Habermas, confrontaremos as teorias de cada um deles com os desafios que hoje lhes coloca a internet e, por fim, procuraremos tirar conclusões sobre se a manifestação social actual da internet obrigou ou não a uma revisão das teses de cada um. Habermas, Baudrillard and McLuhan represent three of the main scientific approaches to the phenomenon of the interaction between media and society. However all those approaches are prior to the internet as a massive medium for the distribution of information, like we experience it today. The purpose of this article is to analyze if the internet as we know it today can in any way be inscribed within the thesises of each of those authors, mapped out though their own writings or the writings of their successors; and to figure out if the modern development of the internet forced a revision of those author’s thesis, either by themselves or by their successors. We will examine, in chronological order, the thesis of Marshal McLuhan, Jean Baudrillard and Jürgen Habermas, we will confront the theories of those authors with the challenges that the internet poses them and we will conclude by checking if the internet has forced a revision of their main theoretical thesises.

This paper examines a concept conceived by the French philosopher Jean Baudrillard: the media which, not respecting anymore, takes itself as the event. Therefore, it is once again about the role of media in a highly mediatic society. A question arises: even journalism has definitely become entertainment? Between theory and practice, the traces of the mutation appear to eliminate any doubt. Somehow, five years after Baudrillard’s death, this paper takes stock of his legacy through a fragment of his vast, rich and controversial work as an ironic analyst. Este texto examina una noción concebida por el pensador francés Jean Baudrillard: los medios que, no respetándose más, se toman por el acontecimiento. Se trata, por lo tanto, una vez más, del papel de los medios de comunicación en una sociedad extremadamente mediática. Una pregunta se impone: incluso el periodismo ha hecho definitivamente entretenimiento? Entre la teoría y la práctica, los rastros de la mutación parecen eliminar cualquier duda. En cierto modo, pasados cinco años de la muerte de Baudrillard, este artículo hace un balance de su legado a través de un fragmento de su inmensa, rica y polémica obra de analista irónico. Este texto examina uma noção concebida pelo pensador francês Jean Baudrillard: a mídia que, não se respeitando mais, toma-se pelo acontecimento. Trata-se, portanto, mais uma vez, do papel dos meios de comunicação numa sociedade extremamente midiatizada. Uma pergunta se impõe: mesmo o jornalismo tornou definitivamente entretenimento? Entre a teoria e a prática, os rastros da mutação parecem eliminar qualquer dúvida. De certo modo, passados cinco anos da morte de Baudrillard, este artigo faz um balanço do seu legado através de um fragmento da sua imensa, rica e polêmica obra de analista irônico.

Jean Baudrillard is dead. Another paradox in his existence. The great french intellectual - certainly the greatest of the last 50 years in the ability to combine originality of ideas and exuberance of style - had denounced in a disconcerting book "the illusion of the end" (The illusion of the end or events on strike, 1992). Life has no end, he used to say. The men would have invented (or simulated) senses, purposes and even the passage of time as a rupture. In "The Transparency of Evil" (1990) he went even further: "Nothing, (not even God) disappears by end or death, but only by proliferation, contamination, saturation and transparency..." If Baudrillard disappears, certainly it will not be by trivialization, but by excess of lucidity and pertinence. Jean Baudrillard morreu. Mais um paradoxo na sua existência. O grande pensador francês – certamente o maior dos últimos 50 anos na capacidade de aliar originalidade de idéias e exuberância de estilo – havia denunciado num livro desconcertante “a ilusão do fim” (A ilusão do fim ou a greve dos acontecimentos, 1992). A vida não tem fim, ele costumava dizer. Os homens é que teriam inventado (ou simulado) sentidos, finalidades e até mesmo a passagem do tempo como uma ruptura. Em “A transparência do mal” (1990), ele foi ainda mais longe: “Nada, (nem mesmo Deus) desaparece mais pelo fim ou pela morte, mas somente por proliferação, contaminação, saturação e transparência...” Se Baudrillard desaparecer certamente não será por banalização, mas por excesso de lucidez e de pertinência.

Interview with Jean Baudrillard. Thinker of the radical and extreme phenomena, Jean Baudrillard, 69, considers himself an "indifferent paroxist". Posture reduced by many of its detractors to a kind of nihilism, immobilism or even imposture. A convicted practitioner of irony and paradox, Baudrillard disconcerts, for he sees conformism where others imagine the revolution to germinate. For him, when criticism is transformed into moralism, only fatal derision can generate rebellion. Admirer Antonin Artaud, Holderlin, Georges Bataille and the German anarchist Max Stirner, Baudrillard makes no concessions: only the "damned part", which denies the "System", interests him. Entrevista com Jean Baudrillard. Pensador do radical e dos fenômenos extremos, Jean Baudrillard, 69, considera-se um “paroxista indiferente”. Postura reduzida por muitos dos seus detratores a uma espécie de niilismo, de imobilismo ou mesmo de impostura. Praticante convicto da ironia e do paradoxo, Baudrillard desconcerta, pois enxerga o conformismo onde outros imaginam germinar a revolução. Para ele, quando a crítica se transforma em moralismo, somente a derrisão fatal pode gerar rebelião. Admirador de Antonin Artaud, de Holderlin, de Georges Bataille e do anarquista alemão Max Stirner, Baudrillard não faz concessões: só a “parte maldita”, o que nega o “Sistema”, interessa-lhe.