{"id":2203,"date":"2022-01-12T14:37:23","date_gmt":"2022-01-12T13:37:23","guid":{"rendered":"https:\/\/sbunker.org\/?p=2203"},"modified":"2023-12-15T10:45:22","modified_gmt":"2023-12-15T09:45:22","slug":"drejt-perhershmerise-virtuale","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/drejt-perhershmerise-virtuale\/","title":{"rendered":"Drejt p\u00ebrhershm\u00ebris\u00eb virtuale"},"content":{"rendered":"<p>[<em>Ekskurs p\u00ebrkitazi p\u00ebr filmin<\/em>\u00a0Her,\u00a0<em>t\u00eb regjisorit amerikan Spike Jonze, realizuar n\u00eb vitin 2013<\/em>]<\/p>\n<p>Transformimi aktual n\u00ebn ndikimin e frym\u00ebs digjitale ka krijuar shk\u00ebputje t\u00eb thell\u00eb nd\u00ebrmjet avancimit teknologjik e shkencor n\u00eb nj\u00ebr\u00ebn an\u00eb dhe progresit moral n\u00eb an\u00ebn tjet\u00ebr. Kjo diskrepanc\u00eb e madhe edhe sikur e rr\u00ebnon pik\u00ebn kryesore t\u00eb referimit, ku e v\u00ebrteta mund t\u00eb afirmohet vet\u00ebm p\u00ebrmes argumenteve racionale. Ky post-iluminiz\u00ebm, q\u00eb e zhvendos njeriun n\u00eb linjat e post-mendimit dhe t\u00eb post-historis\u00eb, gjithashtu e ka kapilarizuar t\u00eb v\u00ebrtet\u00ebn. E v\u00ebrteta sot nuk \u00ebsht\u00eb monopol, sepse tanim\u00eb nuk ka nj\u00eb t\u00eb v\u00ebrtet\u00eb. Madje-madje, duket se nuk ka t\u00eb v\u00ebrtet\u00eb fare, p\u00ebr arsye q\u00eb pothuajse secili sot beson se e ka t\u00eb v\u00ebrtet\u00ebn. Qasja e leht\u00eb n\u00eb informat\u00eb e ka krijuar p\u00ebrshtypjen se secili potencialisht mund t\u00eb vij\u00eb deri tek e v\u00ebrteta. Mjafton ta kesh nj\u00eb aparat q\u00eb ta mund\u00ebson lidhjen me internet. Gjithashtu, teknologjia e ka rikthyer imazhin, vet\u00ebm se tani me nj\u00eb ndryshim \u2013 tani ky imazh nuk bart ndonj\u00eb ndjesi e as koncept. \u00cbsht\u00eb shum\u00eb plastik. I ftoht\u00eb. Imazhe t\u00eb parafinuara, vulgare, q\u00eb p\u00ebr q\u00ebllim kan\u00eb t\u00ebrheqjen e v\u00ebmendjes. Nd\u00ebrsa, simbolet automatike aty mund\u00ebsojn\u00eb komunikimin. Nj\u00eb komunikim po ashtu i ftoht\u00eb, i paartikuluar dhe bezdis\u00ebs.<\/p>\n<p>Dikur imazhi ishte njohje p\u00ebr nj\u00eb fenomen a realitet. Ishte ide, ishte mendim. Nd\u00ebrsa sot imazhi \u00ebsht\u00eb\u00a0<em>riprodhim\u00a0<\/em>vulgar\u00a0<em>i s\u00eb nj\u00ebjt\u00ebs<\/em>. Seri digjitale q\u00eb plasohet me shpejt\u00ebsin\u00eb e drit\u00ebs. Tani nuk ka mendim mbi krijimin e nj\u00eb imazhi, ka multiplifikim automatik. N\u00eb an\u00ebn tjet\u00ebr, simbolet digjitale e kan\u00eb z\u00ebvend\u00ebsuar gjuh\u00ebn. Ky bransh i komunikimit e ka z\u00ebvend\u00ebsuar ndjesin\u00eb e pranis\u00eb me t\u00eb qen\u00ebt pjes\u00ebmarr\u00ebs n\u00eb rrjet.\u00a0<em>N\u00ebse nuk t\u00eb gjej n\u00eb\u00a0<\/em>Google<em>, nuk ekziston<\/em>?! Ekzistenca jon\u00eb edhe fizike edhe intelektuale \u00ebsht\u00eb e mundur vet\u00ebm n\u00ebse jemi t\u00eb lidhur n\u00eb rrjet. Kjo lidhje, ky rrjet\u00ebzim i njohur dikur si\u00a0<em>fshati global<\/em>\u00a0nga Marshall McLuhan-i, n\u00eb fakt nuk ka prodhuar dhe nuk po prodhon socialitet.<\/p>\n<p>Duket sikur jemi shnd\u00ebrruar n\u00eb qenie digjitale dhe kjo e suspendon ndjesin\u00eb karshi nj\u00ebri-tjetrit. Nuk ka lidhje se sa pran\u00eb e kemi dik\u00eb, komunikimin e zhvillojm\u00eb virtualisht.\u00a0<em>N\u00ebse nuk t\u00eb gjej n\u00eb\u00a0<\/em>Google<em>, nuk ekziston<\/em>,\u00a0<strong>duket sikur \u00ebsht\u00eb analoge me th\u00ebnien e Ren\u00e9 Descartes:\u00a0<em>Mendoj, pra jam<\/em>.<\/strong>\u00a0T\u00eb dy k\u00ebto konstatime\u00a0<em>e n\u00ebnvler\u00ebsojn\u00eb dhimbjen e dh\u00ebmb\u00ebve.\u00a0<\/em>E shp\u00ebrfillin me shum\u00eb arroganc\u00eb njer\u00ebzoren.\u00a0<em>Ndjej, pra jam \u00ebsht\u00eb nj\u00eb e v\u00ebrtet\u00eb me shtrirje m\u00eb t\u00eb p\u00ebrgjithshme dhe q\u00eb i takon \u00e7do qenieje t\u00eb gjall\u00eb,<\/em>\u00a0thot\u00eb Milan Kundera. Pra, edhe mendimi, edhe prania n\u00eb rrjet\u00eb kan\u00eb pik\u00ebsynim ekzistenc\u00ebn dhe nuk \u00e7ajn\u00eb kok\u00ebn p\u00ebrtej k\u00ebsaj. Ndjenja vjen\u00a0<em>a posteriori<\/em>\u00a0\u2013 te mendimi vjen si ide, kurse n\u00eb rrjet\u00eb vjen si\u00a0<em>emoj<\/em>: shum\u00ebsi ikonash t\u00eb ndryshme q\u00eb kinse shprehin gjendjen ton\u00eb emocionale. Duket sikur flasim p\u00ebr\u00a0<em>unin<\/em> virtual, t\u00eb shk\u00ebputur nga vetja.<\/p>\n<p>Nj\u00eb pik\u00ebpamje t\u00eb till\u00eb post-iluministe na e paraqet edhe regjisori Spike Jonze, n\u00eb filmin\u00a0<em>Her<\/em>. Ky film, q\u00eb karakterizohet nga dalldia e teknologjis\u00eb, e paraqet protagonistin e filmit Theodore-s (luajtur nga aktori Joaquin Phoenix), i cili b\u00ebn nj\u00eb jet\u00eb rutin\u00eb, por q\u00eb \u00ebsht\u00eb i kap\u00ebrthyer n\u00ebn dinamik\u00ebn teknologjike. Theodore punon n\u00eb nj\u00eb kompani t\u00eb quajtur\u00a0<em>BeautifulHandwrittenLetters.com<\/em>. Ai u shkruan letra njer\u00ebzve p\u00ebr raste t\u00eb ve\u00e7anta. Mir\u00ebpo, pas divorcit t\u00eb st\u00ebrzgjatur me gruan e tij Catherine (luajtur nga aktorja Rooney Mara), Theodore edhe pse jeton n\u00eb nj\u00eb apartament spektakolar dhe materialisht q\u00ebndron mir\u00eb, ai assesi nuk mund ta rimarr\u00eb veten. Nga kjo gjendje del kur futet n\u00eb nj\u00eb program n\u00eb internet dhe fillon t\u00eb kontaktoj\u00eb me z\u00ebrin erotik t\u00eb Samanta-s (luajtur nga aktorja Scarlett Johansson). N\u00eb fakt k\u00ebtu regjisori e paraqet mjaft mir\u00eb ndikimin e teknologjis\u00eb, sepse Theodore fillon aq shum\u00eb dhe aq intimisht t\u00eb komunikoj\u00eb me Samanta-n sa q\u00eb nj\u00eb dit\u00eb bie edhe n\u00eb dashuri me t\u00eb.<\/p>\n<p>Pra, n\u00eb nj\u00ebfar\u00eb forme inekzistenca e Samanta-s e b\u00ebn t\u00eb v\u00ebrejtsh\u00ebm ekzistenc\u00ebn zvet\u00ebnuese t\u00eb vet Theodore-s. P\u00ebrderisa iluminizmi e shfaqte t\u00eb bukur\u00ebn si nj\u00eb sh\u00ebmb\u00eblltyr\u00eb t\u00eb s\u00eb v\u00ebrtet\u00ebs dhe se subjekti ishte mish\u00ebrim i asaj t\u00eb v\u00ebrtete, gjendja post-iluminizuese Theodore-n e kishte hedhur n\u00eb tok\u00ebn e pafundme t\u00eb komunikimit robotik q\u00eb e mund\u00ebson teknologjia digjitale. Ai \u00ebsht\u00eb i kap\u00ebrthurur skajshm\u00ebrisht n\u00eb k\u00ebt\u00eb virtualitet. Jeta e tij ka kuptim vet\u00ebm duke qen\u00eb i pranish\u00ebm aty ku edhe z\u00ebri i Samanta-s duhet t\u00eb jet\u00eb n\u00eb \u00e7do moment aktiv p\u00ebr t\u00eb.<\/p>\n<p>Madje, nj\u00eb nga momentet kritike n\u00eb filmin\u00a0<em>Her<\/em>, \u00ebsht\u00eb kur Theodore-s, z\u00ebri erotik i Samanta-s nuk i shfaqet m\u00eb n\u00eb aparatur\u00ebn digjitale. Aty ai e ndien pothuajse deri n\u00eb palc\u00eb humbjen e madhe, humbjen e asaj t\u00eb\u00a0<em>v\u00ebrtete inekzistente<\/em>. Mosprania e atij z\u00ebri q\u00eb vinte n\u00eb aparatur\u00ebn e tij tek Theodore krijon frik\u00eb, sepse vet\u00ebm aty ai \u00ebsht\u00eb i bindur q\u00eb ekziston. Kur kthehet z\u00ebri i humbur i Samanta-s, Theodore sikur rilind, e rizbulon veten. Edhe kur e kupton se Samanta apo z\u00ebri erotik i aparatit nuk \u00ebsht\u00eb vet\u00ebm \u201ce dashura\u201d e tij, por ajo nj\u00ebkoh\u00ebsisht flet edhe me 83016 njer\u00ebz t\u00eb tjer\u00eb, edhe p\u00ebrkund\u00ebr xhelozis\u00eb q\u00eb shp\u00ebrfaqet tek ai, prap\u00ebseprap\u00eb Theodore nuk ka guxim ta braktis\u00eb at\u00eb. Pranon q\u00eb ai z\u00eb kaq i bukur, kaq i \u00ebmb\u00ebl dhe erotik, q\u00eb shpeshher\u00eb e d\u00ebrgon deri n\u00eb eksitim, t\u2019i \u2018eksitoj\u00eb\u2019 edhe mij\u00ebra njer\u00ebz t\u00eb tjer\u00eb vet\u00ebm e vet\u00ebm q\u00eb mos ta humb\u00eb. K\u00ebtu regjisori sikur na sjell n\u00eb mendje frik\u00ebn e vetmis\u00eb. Ne nuk duam t\u00eb jemi vet\u00ebm. Vetmia \u00ebsht\u00eb armiku yn\u00eb m\u00eb i madh i dit\u00ebve t\u00eb sotme.<\/p>\n<p>Prandaj, teknologjia na mund\u00ebson q\u00eb t\u00eb besojm\u00eb se nuk jemi vet\u00ebm. Me k\u00ebt\u00eb, regjisori p\u00ebrve\u00e7q\u00eb e paraqet nj\u00eb situat\u00eb post-iluministe, ai e v\u00eb n\u00eb spikam\u00eb edhe nj\u00eb gjendje post-erotike. P\u00ebrve\u00e7q\u00eb postulati i t\u00eb v\u00ebrtet\u00ebs m\u00eb nuk ekziston dhe si rezultat i saj ekzistojn\u00eb vet\u00ebm n\u00eb momente fragmentarizuese jokoherente, nuk ekziston as erosi si ndjesi e gjith\u00ebpranishme, por vet\u00ebm si i mund\u00ebsuar n\u00eb virtualitet. Filmi mundohet t\u00eb na thot\u00eb se\u00a0<em>nuk ka vuajtje uniforme, sepse uni \u00ebsht\u00eb unik dhe i patransmetuesh\u00ebm te tjetri. Kur vuajtja b\u00ebhet uniforme, bota zhduket.<\/em>\u00a0Nd\u00ebrsa, kur dashuria b\u00ebhet uniforme, jeta b\u00ebhet e pashije.<\/p>","protected":false},"excerpt":{"rendered":"<p>[Ekskurs p\u00ebrkitazi p\u00ebr filmin\u00a0Her,\u00a0t\u00eb regjisorit amerikan Spike Jonze, realizuar n\u00eb vitin 2013] Transformimi aktual n\u00ebn ndikimin e frym\u00ebs digjitale ka krijuar shk\u00ebputje t\u00eb thell\u00eb nd\u00ebrmjet avancimit teknologjik e shkencor n\u00eb nj\u00ebr\u00ebn an\u00eb dhe progresit moral n\u00eb an\u00ebn tjet\u00ebr. Kjo diskrepanc\u00eb e madhe edhe sikur e rr\u00ebnon pik\u00ebn kryesore t\u00eb referimit, ku e v\u00ebrteta mund t\u00eb [&hellip;]<\/p>","protected":false},"author":266,"featured_media":2204,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[748,909,905],"ppma_author":[733],"class_list":["post-2203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-cinema","tag-technology","tag-virtuality"],"authors":[{"term_id":733,"user_id":266,"is_guest":0,"slug":"dritan-dragusha","display_name":"Dritan Dragusha","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/10\/dritan.webp"},"user_url":"","last_name":"Dragusha","first_name":"Dritan","description":"Dritan Dragusha \u00ebsht\u00eb i diplomuar n\u00eb filozofi, n\u00eb Universitetin e Prishtin\u00ebs. Dritani \u00ebsht\u00eb i fokusuar n\u00eb teori t\u00eb kultur\u00ebs dhe gjithashtu n\u00eb let\u00ebrsi, kinema dhe muzik\u00eb. Po ashtu, merret edhe me gazetari. \u00cbsht\u00eb kolumnist i rregullt n\u00eb platform\u00ebn online \"sbunker.net\". Ka qen\u00eb edhe m\u00ebsimdh\u00ebn\u00ebs i filozofis\u00eb dhe etik\u00ebs n\u00eb \"The British School Kosova\". Bashkautor n\u00eb projektin kulturor televiziv \"Filozofema\", n\u00eb Radio Televizionin e Kosov\u00ebs. Aktualisht Dritani \u00ebsht\u00eb autor dhe moderator i emisionit \"Prizma\", n\u00eb televizionin T7."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2203","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/266"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2203"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2203\/revisions"}],"predecessor-version":[{"id":2205,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2203\/revisions\/2205"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2204"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2203"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2203"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2203"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}