{"id":538,"date":"2010-10-20T18:50:09","date_gmt":"2010-10-20T16:50:09","guid":{"rendered":"http:\/\/michalscollection.cz\/?p=538"},"modified":"2010-10-20T18:58:10","modified_gmt":"2010-10-20T16:58:10","slug":"zklamani-z-raje","status":"publish","type":"post","link":"https:\/\/michalscollection.cz\/?p=538","title":{"rendered":"Zklam\u00e1n\u00ed z r\u00e1je"},"content":{"rendered":"<p><strong>Jan Gemrot, Petr Holub, Martin K\u00e1men, Magdal\u00e9na Nov\u00e1kov\u00e1, Tade\u00e1\u0161 Podrack\u00fd<\/strong><\/p>\n<p><a class=\"thickbox\" rel=\"\" href='https:\/\/michalscollection.cz\/wp-content\/gallery\/dalsi-projekty\/zklamanizraje.jpg' title='Pozv\u00e1nka'><img src='https:\/\/michalscollection.cz\/wp-content\/gallery\/dalsi-projekty\/thumbs\/thumbs_zklamanizraje.jpg' alt='' class='ngg-singlepic ngg-left' \/><\/a> \u017dijeme v dob\u011b informa\u010dn\u00edho v\u011bku, kter\u00fd charakterizuje informacionalizace a globalizace, st\u00e1le v\u011bt\u0161\u00ed z\u00e1vislost na slo\u017eit\u00fdch a k\u0159ehk\u00fdch technologi\u00edch, je\u017e maj\u00ed glob\u00e1ln\u00ed dopad a spo\u010d\u00edvaj\u00ed v rostouc\u00ed zranitelnosti dne\u0161n\u00ed spole\u010dnosti. Obklopuje n\u00e1s mnoho protiklad\u016f a obrovsk\u00e9 mno\u017estv\u00ed probl\u00e9m\u016f, z nich\u017e n\u011bkter\u00e9 jsou \u201ejen\u201c lok\u00e1ln\u00ed, av\u0161ak v posledn\u00edch desetilet\u00edch \u010del\u00edme hrozb\u00e1m povahy planet\u00e1rn\u00ed, v\u0161elidsk\u00e9. Jsou to nap\u0159. zne\u010di\u0161t\u011bn\u00ed \u017eivotn\u00edho prost\u0159ed\u00ed a dal\u0161\u00ed ekologick\u00e9 probl\u00e9my, nar\u016fst\u00e1n\u00ed rozd\u00edlu mezi ekonomicky vysp\u011blou spole\u010dnost\u00ed \u017eij\u00edc\u00ed v materi\u00e1ln\u00edm blahobytu a spole\u010dnost\u00ed \u017eivo\u0159\u00edc\u00ed v naprost\u00e9 chudob\u011b, st\u0159\u00edd\u00e1n\u00ed politick\u00fdch re\u017eim\u016f, totalitarismus. N\u00e1sil\u00ed ve sv\u011bt\u011b se ji\u017e neprojevuje jen otev\u0159enou v\u00e1lkou, hlavn\u00edm traumatem lidstva se st\u00e1v\u00e1 terorismus. Dal\u0161\u00ed hrozby p\u0159edstavuj\u00ed kriminalita, drogy, AIDS, pandemick\u00e1 onemocn\u011bn\u00ed apod.  Obrovsk\u00fd rozvoj v\u011bdy a techniky v modern\u00ed dob\u011b vedl k nezm\u011brn\u00e9mu optimismu a v\u00ed\u0159e, \u017ee v\u0161echny probl\u00e9my budou v prav\u00fd \u010das vy\u0159e\u0161eny. Uk\u00e1zalo se v\u0161ak, \u017ee tomu tak nen\u00ed.<br \/>\nKoncem 70. let 20. stolet\u00ed vstupuje spot\u0159ebn\u00ed kapitalismus do nov\u00e9 f\u00e1ze, vznik\u00e1 hyperkonzumn\u00ed spole\u010dnost. Rod\u00ed se \u201ehomo consumericus\u201c nov\u00e9ho typu \u2013 \u201eturbokonzument\u201c, kter\u00fd si \u017e\u00e1d\u00e1 vysokou \u017eivotn\u00ed \u00farove\u0148, profesn\u00ed \u00fasp\u011bch a osobn\u00ed \u0161t\u011bst\u00ed, nov\u00e9 emocion\u00e1ln\u00ed z\u00e1\u017eitky. Podl\u00e9h\u00e1 vlivu masm\u00e9di\u00ed, kter\u00e1 \u0161\u00ed\u0159\u00ed masovou kulturu, je\u017e je podstatn\u00fdm akt\u00e9rem globalizace, prav\u00fdm opakem aktivn\u00ed lidsk\u00e9 kreativity. V prost\u0159ed\u00ed strukturovan\u00e9m modern\u00ed informa\u010dn\u00ed a komunika\u010dn\u00ed technikou se jako nov\u00fd n\u00e1rok na \u010das prosazuje okam\u017eit\u00e1 dostupnost, vedouc\u00ed k instantn\u00edm pro\u017eitk\u016fm, na \u00fakor celostn\u00edho vn\u00edm\u00e1n\u00ed a pochopen\u00ed hlub\u0161\u00edch souvislost\u00ed. Komer\u010dn\u00ed \u201eentertainment\u201c zast\u00ednil duchovn\u00ed hodnoty. Na\u0161e \u201eNov\u00e1 Ark\u00e1die\u201c uprost\u0159ed blahobytu plod\u00ed subjektivn\u00ed miz\u00e9rii. Deficity se t\u00fdkaj\u00ed sf\u00e9ry osobn\u00ed komunikace, rovnov\u00e1hy profesn\u00edho a soukrom\u00e9ho \u017eivota, mezilidsk\u00e9ho uzn\u00e1n\u00ed, respektu a sebe\u00facty. Jedinec \u010d\u00edm d\u00e1l t\u00edm \u010dast\u011bji podl\u00e9h\u00e1 depres\u00edm a \u00fazkostem.<br \/>\nV\u00fdtvarn\u00ed um\u011blci, zastoupen\u00ed na v\u00fdstav\u011b \u201eZklam\u00e1n\u00ed z r\u00e1je\u201c, jsou seizmografy aktu\u00e1ln\u00edho v\u00fdvoje civilizace. Sou\u010dasnost je vzru\u0161uje i vyz\u00fdv\u00e1 k reakci, n\u011bkdy p\u0159\u00edmo \u010ditelnou v\u00fdpov\u011bd\u00ed, jindy obecn\u011bji nast\u00edn\u011bnou metaforou. Sleduj\u00ed protich\u016fdn\u00e9 dobov\u00e9 tendence a pro ochranu p\u0159ed \u201eutonut\u00edm\u201c v globalizovan\u00e9m sv\u011bt\u011b se pono\u0159uj\u00ed do prostoru vlastn\u00ed zku\u0161enosti a kultivuj\u00ed individualizovan\u00e9 v\u00fdtvarn\u00e9 p\u0159\u00edstupy v r\u00e1mci klasick\u00fdch i nov\u00fdch m\u00e9di\u00ed. Pojem kr\u00e1sy, v sou\u010dasnosti vypr\u00e1zdn\u011bn\u00fd a deformovan\u00fd komerc\u00ed, usiluj\u00ed naplnit nov\u00fdm obsahem. Hledaj\u00ed to, co bylo ztraceno, ale ne jako n\u00e1vrat ke klasick\u00e9mu  ide\u00e1lu, ale ve smyslu objevov\u00e1n\u00ed jinakosti a r\u016fzn\u00fdch podob kr\u00e1sy. Slovy mal\u00ed\u0159e Maxe Pirnera: \u201eKa\u017ed\u00e1 kr\u00e1sa je divn\u00e1 v\u011bc.\u201c<\/p>\n<p><strong>Jan Gemrot \/1983\/<\/strong><br \/>\nMal\u00ed\u0159sk\u00e1 tvorba Jana Gemrota vyr\u016fst\u00e1 z klimatu sou\u010dasn\u00e9 doby, vyzna\u010duje se kvalitou hlubok\u00e9 introspekce, sofistikovan\u00fdm kompozi\u010dn\u00edm \u0159e\u0161en\u00edm a bravurn\u00edm v\u00fdtvarn\u00fdm p\u0159ednesem. Mapuje fenom\u00e9ny konzumn\u00ed spole\u010dnosti ovliv\u0148uj\u00edc\u00ed chov\u00e1n\u00ed \u010dlov\u011bka, jeho soci\u00e1ln\u00ed postaven\u00ed a psychologick\u00e9 rozpolo\u017een\u00ed, i v mezn\u00edch situac\u00edch. Autorov\u00fdm hlavn\u00edm kr\u00e9dem je znovupro\u017eit\u00ed a rekonstrukce vyhrocen\u00e9 reality, kterou n\u00e1m p\u0159edkl\u00e1d\u00e1 k \u201eznovurozpozn\u00e1n\u00ed\u201c. \u010cel\u00ed chaosu doby a zrychlen\u00e9mu \u010dasu estetikou hyperrealistick\u00e9 a realistick\u00e9 malby, kter\u00e1 sceluje povrch obrazu a zachov\u00e1v\u00e1 jeho klasickou z\u00e1v\u011bsnou funkci. Jeho malba fascinuje preciznost\u00ed rukopisu v jemn\u00fdch \u0161t\u011btcov\u00fdch z\u00e1chv\u011bvech i v transparentn\u00edch, rozm\u00fdvan\u00fdch ploch\u00e1ch. Vnit\u0159n\u00ed senzibilita je b\u00e1z\u00ed, kter\u00e1 pronik\u00e1 do vrchn\u00edch sf\u00e9r obrazu, navozuj\u00edc\u00edch svou chladnou barevnost\u00ed dojem zd\u00e1nliv\u00e9 odosobn\u011bnosti.<br \/>\nV obraze \u201eBez n\u00e1zvu \u2013 Puberta 2\u201c (60\u00d790 cm, 2010) analyzuje projevy rozkladu du\u0161evn\u00edho \u017eivota, psychologick\u00fdch \u00fatrap a neschopnosti \u017e\u00edt, kter\u00e9 nar\u016fstaj\u00ed, \u010d\u00edm v\u00edce triumfuje sv\u011bt konzumu. Ne\u017eijeme ji\u017e v r\u00e1ji, Adam a Eva se feti\u0161izac\u00ed zbo\u017e\u00ed a posunem jejich smyslov\u00e9ho a du\u0161evn\u00edho pro\u017e\u00edv\u00e1n\u00ed do virtu\u00e1ln\u00ed sf\u00e9ry st\u00e1vaj\u00ed pouh\u00fdmi \u201ev\u011b\u0161\u00e1ky\u201c na luxusn\u00ed oble\u010den\u00ed, \u201efashion victims\u201c. Rod\u00ed se \u201eSuperman\u201c a \u201eSuperwoman\u201c, hrdinov\u00e9 \u201ebez t\u011bla a bez du\u0161e\u201c (\u201eAdam a Eva\u201c, diptych, 2010). Citov\u00fd obsah sexuality se vytr\u00e1c\u00ed, \u201enedostatek l\u00e1sky\u201c m\u011bn\u00ed lidstvo v egoistick\u00e9 a vypo\u010d\u00edtav\u00e9 jedince, kte\u0159\u00ed nejsou schopni nav\u00e1zat citov\u00e1 pouta (\u201eL\u00e1ska\u201c, 2010). Formou bajky zpracoval autor apokalypsu teroristick\u00e9ho \u00fatoku (Teroristick\u00fd \u00fatok, 2010). K tomuto obrazu bychom mohli p\u0159istoupit i v souladu s antickou estetikou, podle n\u00ed\u017e trag\u00e9die p\u0159iv\u00e1d\u00ed div\u00e1ka ke katarzi, o\u010di\u0161t\u011bn\u00ed. T\u00edm, \u017ee pro\u017e\u00edv\u00e1 zpodoben\u00ed tragick\u00e9ho osudu, se jeho nitro ot\u0159\u00e1s\u00e1, je o\u010di\u0161\u0165ov\u00e1no a div\u00e1k m\u016f\u017ee v jist\u00e9m smyslu za\u010d\u00edt nov\u011b \u017e\u00edt.<\/p>\n<p><strong>Petr Holub \/1976\/<\/strong><br \/>\nPetr Holub ve sv\u00e9 tvorb\u011b navazuje na tradici klasicky c\u00edt\u011bn\u00e9 sochy a posouv\u00e1 ji do sou\u010dasnosti. Figuru stav\u00ed do p\u0159ekvapiv\u00fdch kompozi\u010dn\u00edch p\u00f3z, umocn\u011bn\u00fdch sytou, v\u00fdraznou barevnost\u00ed, je\u017e mu umo\u017e\u0148uje proveden\u00ed v lamin\u00e1tu. Krom\u011b toho pracuje s celou \u0161k\u00e1lou dal\u0161\u00edch materi\u00e1l\u016f, jako laminovan\u00fd polystyren, m\u011bd\u011bn\u00fd plech, d\u0159evo. Ve druh\u00e9 linii sv\u00e9ho d\u00edla dosp\u00edv\u00e1 k utv\u00e1\u0159en\u00ed sochy z jednoduch\u00fdch, stereometrick\u00fdch tvar\u016f. Dv\u011b plastiky \u201eManta\u201c jsou reflex\u00ed jeho fascinace hydrodynamickou formou a \u201edesignem\u201c, kter\u00fd vytvo\u0159ila p\u0159\u00edroda. Monument\u00e1ln\u00ed verze z laminovan\u00e9ho polystyrenu (260\u00d7230\u00d740 cm), \u201epluj\u00edc\u00ed\u201c ve v\u00fdstavn\u00edm prostoru, vyvol\u00e1v\u00e1 a\u017e pocity nezn\u00e1m\u00e9 hrozby. Na dynamick\u00e9m \u00fa\u010dinu komorn\u00ed verze z m\u011bdi se spolupod\u00edl\u00ed denn\u00ed sv\u011btlo, jeho\u017e odrazy a odlesky rozehr\u00e1vaj\u00ed chladn\u00fd, elegantn\u00ed povrch sochy.<\/p>\n<p><strong>Martin K\u00e1men \/1982\/<\/strong><br \/>\nMartin K\u00e1men ve sv\u00e9m fotografick\u00e9m d\u00edle klade siln\u00fd d\u016fraz na v\u00fdpov\u011bdn\u00ed obsah fotografie, jej\u00ed estetickou i technickou dokonalost. Zrcadl\u00ed v n\u00ed sv\u016fj vyhran\u011bn\u00fd um\u011bleck\u00fd a \u017eivotn\u00ed postoj. Soust\u0159ed\u00ed se na hled\u00e1n\u00ed kr\u00e1sn\u00e9 formy, skrze kterou vyjad\u0159uje tak\u00e9 kritiku spole\u010dnosti \u201e\u00e9ry pr\u00e1zdnoty\u201c, spole\u010dnosti, v n\u00ed\u017e nen\u00ed vyv\u00e1\u017een pom\u011br mezi materi\u00e1ln\u00edmi a duchovn\u00edmi hodnotami.  Jeho specifikem je inscenovan\u00e1 fotografie, s objektivem zac\u00edlen\u00fdm na lidskou figuru, portr\u00e9t a figur\u00e1ln\u00ed kompozici. Krom\u011b vylad\u011bn\u00ed barev a v\u00fd\u0159ezu eliminuje n\u00e1sledn\u00e9 po\u010d\u00edta\u010dov\u00e9 \u00fapravy. \u010cerp\u00e1 z vizu\u00e1ln\u00ed databanky um\u011bleck\u00fdch projev\u016f minulosti a sou\u010dasnosti, vyu\u017e\u00edv\u00e1 existuj\u00edc\u00ed \u201eslovn\u00edky\u201c, ale nov\u011b je \u201eprogramuje\u201c a konstruuje, napl\u0148uje je aktu\u00e1ln\u00edmi obsahy. Zaj\u00edmaj\u00ed ho \u201ep\u0159edobrazy\u201c, jejich\u017e symbolika m\u016f\u017ee promlouvat k sou\u010dasn\u00fdm t\u00e9mat\u016fm a ot\u00e1zk\u00e1m. Ve sv\u00e9m zpracov\u00e1n\u00ed n\u00e1m\u011btu poh\u00e1dky o \u0160\u00edpkov\u00e9 R\u016f\u017eence, jej\u00ed\u017e p\u016fvodn\u00ed verze ze 16. stolet\u00ed kon\u010dila tragicky, poukazuje na to, \u017ee frustrace modern\u00ed doby hled\u00e1 mno\u017estv\u00ed n\u00e1hra\u017eek nenapln\u011bn\u00e9 touhy po radosti a \u0161t\u011bst\u00ed, kter\u00e9 nab\u00fdvaj\u00ed charakter \u201e\u00fat\u011bk\u016f\u201c a \u201e\u00fanik\u016f\u201c do sv\u011bta idealizovan\u00fdch p\u0159\u00edb\u011bh\u016f s \u201ehappy endem\u201c. Do kontrastu stav\u00ed \u0159eck\u00fd m\u00fdtus o Endymi\u00f3novi a Sel\u00e9n\u00e9 (remake obrazu francouzsk\u00e9ho klasicisty Anne-Louis Girodet, Sp\u00e1nek Endymi\u00f3n\u016fv, 1791), kter\u00fd ne\u00fast\u00ed do p\u0159\u00edslibu \u0161\u0165astn\u00e9ho \u017eivota, odpov\u00edd\u00e1 v\u00edce syrov\u00e9 realit\u011b, je vyst\u0159\u00edzliv\u011bn\u00edm z r\u00e1je. Ve fotografii \u201eHyakinthos a Apoll\u00f3n\u201c, inspirovan\u00e9 malbou Jeana Broca z roku 1801, konfrontuje p\u0159\u00edb\u011bh prvn\u00ed, \u010dist\u00e9 \u201egay\u201c-l\u00e1sky se sv\u011btem zahlcen\u00fdm odpady civilizace, zm\u00edtan\u00fdm n\u00e1sil\u00edm a terorismem. Ho\u0159\u00edc\u00ed budovy \u201eTwins\u201c v New Yorku v zadn\u00edm pl\u00e1nu jsou p\u0159ipom\u00ednkou 9. v\u00fdro\u010d\u00ed teroristick\u00e9ho \u00fatoku. D\u00edlo \u201eP\u00e1sifa\u00e9\u201c p\u0159edstavuje voln\u00e9 um\u011bleck\u00e9 ztv\u00e1rn\u011bn\u00ed p\u0159\u00edb\u011bhu z \u0159eck\u00e9 mytologie o nev\u011brn\u00e9 man\u017eelce kr\u00e9tsk\u00e9ho kr\u00e1le M\u00edn\u00f3a, kter\u00e1 podlehla svod\u016fm b\u00fdka. Autor zinscenoval p\u0159\u00edb\u011bh v prostor\u00e1ch saly terreny Vrtbovsk\u00e9 zahrady a pojal ho jako paralelu sou\u010dasn\u00fdch naru\u0161en\u00fdch citov\u00fdch vztah\u016f. T\u00e9ma \u201eDante a Virgil v pekle\u201c (podle v\u00fd\u0159ezu obrazu W. A. Bouguereau z roku 1850) mu evokuje st\u00e1le se opakuj\u00edc\u00ed z\u00e1pas jedince \u010di spole\u010dnosti s realitou. Soubor na v\u00fdstav\u011b uzav\u00edr\u00e1 fotografie \u201eFunus\u201c, v n\u00ed\u017e Martin K\u00e1men, \u201ezklaman\u00fd z r\u00e1je\u201c, zre\u017e\u00edroval sv\u016fj vlastn\u00ed fiktivn\u00ed poh\u0159eb.<\/p>\n<p><strong>Magdal\u00e9na Nov\u00e1kov\u00e1 \/1983\/<\/strong><br \/>\nMagdal\u00e9na Nov\u00e1kov\u00e1 vol\u00ed v\u00fdrazov\u00e9 prost\u0159edky v z\u00e1vislosti na snaze naj\u00edt co nejadekv\u00e1tn\u011bj\u0161\u00ed formu pro vyj\u00e1d\u0159en\u00ed sv\u00e9ho um\u011bleck\u00e9ho z\u00e1m\u011bru. V\u011bnuje se malb\u011b, kresb\u011b, videoartu, performanci. Vn\u011bj\u0161\u00ed podn\u011bty poj\u00edm\u00e1 do nitra, intelektem a senzitivitou je filtruje, aby pak v\u00fdsledn\u00e9 d\u00edlo bylo neust\u00e1l\u00fdm p\u0159ekra\u010dov\u00e1n\u00edm hranic vid\u011bn\u00e9ho, jeho sr\u016fst\u00e1n\u00edm s abstraktn\u00ed pocitovou slo\u017ekou. Cyklus pl\u00e1ten \u201eHrdinky\u201c (2010) pojala jako konceptu\u00e1ln\u00ed projekt. Vyb\u00edr\u00e1 si \u017eensk\u00e9 idoly sou\u010dasnosti \u2013 z komiksu (Supergirl), filmu (\u010cern\u00e1 Mamba z filmu Kill Bill) a po\u010d\u00edta\u010dov\u00fdch her (Lara Croft). Projektuje se do nich a d\u00e1v\u00e1 jim svou podobu. Sv\u016fj postoj manifestuje zapojen\u00edm proklamativn\u00edho n\u00e1pisu \u201eIt isn\u2019t\u2026\u201c do obrazov\u00e9 plochy. Figur\u00e1ln\u00ed prvek kreativn\u011b spojuje s abstrakc\u00ed, zastoupenou \u010dist\u00fdmi barevn\u00fdmi plochami se symbolick\u00fdm v\u00fdznamem. Obrazov\u00fd soubor je reflex\u00ed lidsk\u00e9 touhy po kr\u00e1sn\u011bj\u0161\u00edm \u017eivot\u011b, je\u017e je v\u0161ak dosa\u017eiteln\u00fd pouze \u00fanikem z tvrd\u00e9 reality do kr\u00e1sn\u00e9ho zd\u00e1n\u00ed, do snov\u00e9 zem\u011b z\u00e1\u0159iv\u00fdch fantazi\u00ed. Pod vlivem m\u00e9di\u00ed, kter\u00e1 vytv\u00e1\u0159ej\u00ed normy, vzorce chov\u00e1n\u00ed, ovliv\u0148uj\u00ed vkus, definuj\u00ed t\u011blesn\u00fd ide\u00e1l, v sob\u011b posilujeme ur\u010dit\u00fd, velmi jednostrann\u00fd a zidealizovan\u00fd obraz sv\u011bta. Autorka poukazuje na skute\u010dnost, \u017ee dne\u0161n\u00ed \u017eena tou\u017e\u00ed b\u00fdt \u00fasp\u011b\u0161nou a p\u0159ita\u017elivou, av\u0161ak z\u00e1rove\u0148 se ocit\u00e1 ve v\u011bzen\u00ed t\u00e9to struktury. \u201eD\u00edvka s perlou\u201c nen\u00ed ide\u00e1ln\u00ed hrdinkou, masmedi\u00e1ln\u00edm idolem, ale pouze \u201ehrdinkou\u201c jednoho srdce, mal\u00ed\u0159e Vermeera van Delft (1632- 1675).<\/p>\n<p><strong>Tade\u00e1\u0161 Podrack\u00fd \/1989\/<br \/>\n<\/strong>Tvorbu Tade\u00e1\u0161e Podrack\u00e9ho, studuj\u00edc\u00edho v Ateli\u00e9ru skla na Vysok\u00e9 \u0161kole um\u011bleckopr\u016fmyslov\u00e9 v Praze, definuje z\u00e1jem o lidskou anatomii a biologii. Jde mu o porozum\u011bn\u00ed principu \u010di k\u00f3du dan\u00e9 problematiky, kterou konzultuje i s v\u011bdci a odborn\u00edky. Jeho c\u00edlem je vyj\u00e1d\u0159en\u00ed p\u0159\u00edrodn\u00edch proces\u016f jinou formou, v oboru um\u011bl\u00e9 inteligence. Dosp\u00edv\u00e1 a\u017e k minimalistick\u00fdm objekt\u016fm, n\u011bkdy sv\u011bteln\u00fdm. Studium fenom\u00e9nu lidsk\u00e9 inteligence ho p\u0159ivedlo k t\u00e9matice neuron\u016f, nervov\u00fdch bun\u011bk, k jejich matematick\u00e9mu vyj\u00e1d\u0159en\u00ed a napodoben\u00ed v um\u011bl\u00e9 inteligenci. Nap\u0159\u00edklad interaktivn\u00ed sv\u011bteln\u00fd objekt \u201eNeuron\u201c p\u0159edstavuje zv\u011bt\u0161en\u00fd p\u0159epis axonu, nejdel\u0161\u00edho v\u00fdb\u011b\u017eku neuronu, kter\u00fd vede bu\u0148kou zpracovan\u00fd sign\u00e1l k synapsi, druh\u00e9mu neuronu. Zt\u011bles\u0148uje my\u0161lenku propojen\u00ed proudu informac\u00ed mezi lidmi, proto\u017ee sv\u011btlo se zapne jen v p\u0159\u00edpad\u011b, propoj\u00ed-li se oba konce p\u0159es \u010dlov\u011bka nebo v\u00edce lid\u00ed. Sv\u011bteln\u00fd objekt \u201eK\u0159\u00ed\u017e\u201c je syntetick\u00fdm ztv\u00e1rn\u011bn\u00edm pulzuj\u00edc\u00edho krevn\u00edho ob\u011bhu. Jsme varov\u00e1ni p\u0159ed vyhasnut\u00edm lidsk\u00e9ho citu a l\u00e1sky, kter\u00e9 n\u00e1m srdce evokuje. <\/p>\n<p>Zklam\u00e1n\u00ed z r\u00e1je. Nebo tak\u00e9 trochu jinak, slovy francouzsk\u00e9ho filozofa Gilla Lipovetzk\u00e9ho: \u201eNestoup\u00e1me do r\u00e1je, neupad\u00e1me do pekla, zkr\u00e1tka se jen nach\u00e1z\u00edme v epo\u0161e paradoxn\u00edho \u0161t\u011bst\u00ed.\u201c<\/p>\n<p><em>Rea Michalov\u00e1<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jan Gemrot, Petr Holub, Martin K\u00e1men, Magdal\u00e9na Nov\u00e1kov\u00e1, Tade\u00e1\u0161 Podrack\u00fd \u017dijeme v dob\u011b informa\u010dn\u00edho v\u011bku, kter\u00fd charakterizuje informacionalizace a globalizace, st\u00e1le v\u011bt\u0161\u00ed z\u00e1vislost na slo\u017eit\u00fdch a k\u0159ehk\u00fdch technologi\u00edch, je\u017e maj\u00ed glob\u00e1ln\u00ed dopad a spo\u010d\u00edvaj\u00ed v rostouc\u00ed zranitelnosti dne\u0161n\u00ed spole\u010dnosti. Obklopuje n\u00e1s mnoho protiklad\u016f a obrovsk\u00e9 mno\u017estv\u00ed probl\u00e9m\u016f, z nich\u017e n\u011bkter\u00e9 jsou \u201ejen\u201c lok\u00e1ln\u00ed, av\u0161ak v [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-538","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/538","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=538"}],"version-history":[{"count":5,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/538\/revisions"}],"predecessor-version":[{"id":550,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=\/wp\/v2\/posts\/538\/revisions\/550"}],"wp:attachment":[{"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/michalscollection.cz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}