Izvorni znanstveni članak
https://doi.org/10.15291/sic/1.15.lc.4
Instagramabilna estetika
Senka Božić-Vrbančić
; University of Zadar, Croatia
Sažetak
This article examines the aesthetic category of the ‘Instagrammable’ and explores what it means for destinations like Telašćica Nature Park to be seen as Instagram Hot Spots. I begin by addressing issues arising from the spread of social media platforms like Instagram, particularly the role of marketing and the subtle operations of digital algorithms. From there, I explore the shifting notion of “authenticity” in tourist sites like Telašćica, where the Instagrammable aesthetic takes root, redefining what it means for a place to be “seen.” I argue that ‘Instagrammable’ as an aesthetic category resonates with the ‘picturesque,’ which once reflected economic and colonial entanglements; now, the Instagram aesthetic speaks to an era of communicative capitalism (Ngai; Dean). Within this aesthetic framework, Telašćica is confronted with what Jodi Dean calls a ‘whatever subject’ – a subject whose “whatever” signals a form of communication that lacks depth, a hollow connectivity that does not seek to understand itself beyond the bounds of perpetual sharing and display. In this sense, Telašćica becomes a “whatever” destination, an Instagrammable site for a ‘whatever subject,’ caught in a loop of visibility that obscures the very hegemonic discourses shaping its existence. As an Instagram Hot Spot, Telašćica is thus flattened, transformed into a consumable backdrop for a subjectivity that has been entrapped in the visual field.
Ključne riječi
Instagrammable, aesthetic categories, communicative capitalism, Telašćica
Hrčak ID:
325642
URI
Datum izdavanja:
15.12.2024.
Posjeta: 15 *