SCIENTIFIC AND EDUCATIONAL SOCIETY FOR CULTURAL STUDIES
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Hypotheses:

THEORETICAL REVIEW

V.M. Mezhuyev. Philosophy of culture in the system of modern knowledge about culture

E.A. Orlova. Sociocultural reality: towards the definition of the concept

V.I. Ionesov. Humanistic Anthropology in the Science of Culture: Rereading Claude Levi-Strauss

 

Discussions:

IN SEARCH OF THE MEANING OF HISTORY AND CULTURE (A.Ya. Flier's sectoin)

A.V. Kostina, A.Ya. Flier. Ternary functional model of culture (beginning)

N.A. Khrenov. A Century later: the tragic experience of Soviet Culture (beginning)

V.M. Rozin. "The Peasant Girl": an existential choice, extremely difficult in life, but possible in art

 

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CULTURAL REFLECTIONS

A.Ya. Flier. The social experience of a person and its important component, the "second reality"

N.A. Khrenov. The Russian Revolution from the point of view of the transitional situation in the history of culture. Rehabilitation of the Imperial complex as a consequence of the period of reaction in the history of the Revolution (ending)

V.M. Rozin. Conditions for the introduction and conceivability of the category "reality"

N.A. Khrenov. Russian culture at the turn of the XIX-XX centuries: the Gnostic "Renaissance" in the context of Hegel's symbolism (Semiotic turn in the culture of the twentieth century) (beginning)


Announcement of the next issue

 


Nikolay Andreevich Khrenov,
Doctor of Philosophy, Professor,
All-Russian State University
of Cinematography named after S.A. Gerasimov,
e-mail: nihrenov@mail.ru

Culture and technology:
from the organ projection of E. Kappa to the objectification of Hegel's spirit
(Semiotic turn in the culture of the twentieth century)
(continued)

Abstract: The article raises the question of the relationship between culture and technology. In this case, technologies should be understood primarily as those media that have appeared since the nineteenth century, i.e. since the appearance of photography as the starting point of invasion into the culture of many languages associated with the dominance of the visual principle. Media in their modern forms, having arisen on the basis of technology, have themselves become the basis of new forms of functioning of art, including artistic experiments. The use of technology for artistic purposes contributes to the awareness of the cultural meaning of technology. To identify this meaning, the article uses both the idea of organ projection existing in the philosophy of technology, and the Hegelian concept of externalization or objectification of the Spirit. Relying on later interpretations of the concept of objectification, the author, when explaining the principle of media operation, reveals its reverse side associated with the effect of alienation, which makes it possible to fix the not always positive consequences of the invasion of technology into culture. The result of the conducted research is the presentation of the situation of technology intrusion into culture in the form of new sign systems or languages. The semiotic analysis used by the author makes it possible to identify those periods in the history of culture that are based on the sign. Semiotic analysis of the successive emergence of different media in the history makes it clear that they are all phases of the formation of a single gestalt, namely, what is now called virtual reality, and previously was usually not taken into account.

Keywords: culture, technology, media, virtual reality, photography, cinema, television, Internet, writing, book printing, externalization, objectification, organ projection, tactility, transcendence, sign, symbol, eidos, simulacrum, modern, postmodern, Plato's cave, Plato, Kapp, Rousseau, Florensky, Hegel, McLuhan, Barbier, Heidegger, Gutenberg, Sandrard, Manovich, Eco, Freud, Sontag, Krauss, Deleuze, semiotic analysis.

 

[89] Linzbach Ya. Principles of the philosophy of language. Pg., 1916.
[90] Ivanov Vyach. Vs. Aesthetics of Eisenstein // Selected works on the semiotics of cultural history. Vol. 1. M.: School "Languages of Russian culture", 1998, pp. 143-380.
[91] Lotman Yu. Semiotics of cinema and problems of cinema aesthetics. Tallinn. Eesti Raamat Publishing House, 1973.
[92] Barbier F. Decree. op., p. 77.
[93] Ibid., p. 39.
[94] Cit. by: Derrida J. About grammatology. M.: Ad Marginem, 2000, p. 288.
[95] Eisenstein S. Method. In 2 v. Vol. 1. M.: Museum of Cinema. Eisenstein Center, 2002, p. 107.
[96] Barbier F. Decree. op., p. 39.
[97] Cit. by: Derrida J. About grammatology. Decree. op., p. 286.
[98] Eco U. About the method of shaping as a reflection of reality // Eco U. An open work. Form and uncertainty in modern poetics. St. Petersburg: Simposium, 2006, pp. 291-350.
[99] Eco U. An open work. Decree op., p. 336.
[100] Ibid.
[101] Ibid.
[102] Bychkov V. The artistic apocalypse of culture. Stromata of the twentieth century. In 2 vols. 1. M.: "Cultural Revolution", 2008, p. 8.
[103] Kutyrev V. Carried away by progress. Eschatology of life in the technogenic world. St. Petersburg: Aleteya, 2016, 300 p.
[104] Mole. Sociodynamics of culture. M.: Progress, 1973, 401 p.
[105] Derrida J. Decree. op., p. 168.
[106] Eco U. An open work. Decree. op., p. 313
[107] Ibid., p. 316.
[108] Lord A. Storyteller. 1994. Decree. op., p. 157.
[109] Ibid., p. 158.
[110] Eco U. An open work. Decree. op., p. 341.
[111] Virtualistics: existential and epistemological aspects. M.: Progress Tradition, 2001.
[112] McLuhan M. Gutenberg Galaxy. Decree. op., p. 374.
[113] Kuznetsov M. Virtual reality – a technogenic artifact or a network phenomenon // Virtualistics: existential and epistemological aspects. Decree op., p. 67.
[114] Motroshilova N. Civilization and barbarism in the era of global crises. M.: Canon Plus ROOI "Rehabilitation", 2010, 480 p.
[115] Eisenstein S. Selected works in 6 vols. 2. M.: Art, 1964, p. 93.
[116] Berdyaev N. Philosophy of creativity, culture and art. In 2 t, T. 2. M.: Art. 1994. p. 399.
[117] Hwang A. "Cinema is a collective dream of mankind" // Kinovedcheskie zapiski. 1992. No. 16, pp. 166–177.
[118] Schrader P. Transcendental style in cinema: Ozu, Bresson, Dreyer // Kinovedcheskie zapiski. 1997. No. 32, pp. 182-198.
[119] Eisenstein S. Method. In 2 v. V. 1. M.: Museum of Cinema. Eisenstein Center. 2002, p. 323.
[120] Eisenstein S. Decree. op., p. 166.

 

 

ISSN 2311-3723

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Official registration № ЭЛ № ФС 77 – 56414 от 11.12.2013

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