Трансмедійний універсум дигіталізованної культури

The purpose of the study is to analyze and discover the potential of new media in the context of transmedia universe of digitalized culture and to outline the possible consequences of cultural codes changing. Research methodology. In the article the method of cognitive analysis and the principle of reductionism, which helped to disclose the “digital transmission” of modern culture, as well as methods of analysis, synthesis and abstraction were used. Scientific novelty. The article considers the process of transformation and blurring of ontological boundaries of the new media - transmedia in the context of the process of digitization of modern culture. Conclusion. It has been established that the digital transmission of the data encoded in discrete signals (digitalization) has led to the emergence of special properties of new media, the reformatting of their ontological boundaries. It is noted that the emergence of transmedia, transmedia projects, worlds, show not only the transformation of media textuality (only the technical aspect), but also the change of the traditional cultural matrix. It is established that a “dense” transmedia world (transmedia universe) has been created, which ensures not only the virtualization of reality, but also motivates the implementation of the virtual, as it is quite real. Such circumstances give the incredible living force to creation of the narrative lines, and also their reality is confirmed. The digital matrix of modern culture is considered through the prism of negative anthropology by V.Flyuser. There is made an assumption about the possible process of de-escalation, “going down to the bottom” (V.Flyuser), which is confirmed by the technical changes of the new media environment, which led to the new configuration of cultural codes, when the axiological asymmetry of the binary systems is replaced by the axiological neutrality of the medial systems. The medial (ternary) model implies the existence of the world of evil and good, and of the world, which has no definite moral assessment and is characterized by the fact of existence itself. Perhaps this reductionism and the construction of complex cultural transformation into a simple system of digital combinations are rather contradictory, but the used methodological principle makes it possible to clarify some of the complex cultural phenomena of the digitalized culture, where forms and functions ceased to be a single entity.Цель исследования - проанализировать и раскрыть потенциал новых медиа в контексте трансмедийного универсума дигитализированной культуры и наметить возможные последствия изменения культурных кодов. Методология исследования. В статье использовался метод когнитивного анализа и принцип редукционизма, который помог раскрыть "цифровую трансмиссию" современной культуры, а также методы анализа, синтеза и абстрагирования. Научная новизна. Рассмотрен процесс трансформации и размытия онтологических границ новых медиа – трансмедиа в контексте процесса дигитализации современной культуры. Выводы. Цифровая трансмиссия данных, закодированных в дискретные сигналы (дигитализация), привела к появлению особых свойств новых медиа, переформатированию их онтологических границ. Появление трансмедиа, трансмедийных проектов, миров, свидетельствуют не только о трансформации медийной текстуальности (только технический аспект), но и об изменении традиционной матрицы культуры. Создано «плотный» трансмедийный мир (трансмедийный универсум), который обеспечивает не только виртуализацию реальности, но и побуждает к реализации виртуального, как вполне реального. Такие обстоятельства наделяют невероятной живучей силой созданные нарративные линии, подтверждающие их реальность. Рассмотрена дигитальная матрица современной культуры через призму негативной антропологии В. Флюссера. Сделано предположение о возможном процессе де-эскалации, «лестницы вниз» (В. Флюссер), что подтверждается техническими изменениями новой медиасреды, которые обусловили иную конфигурацию культурных кодов, когда аксиологическая асимметрия бинарных систем заменяется аксиологической нейтральностью медиальных систем. Медиальная (тернарная) модель предполагает как существование мира зла и добра, так и мира, который не имеет однозначно моральной оценки и характеризуется самим фактом существования. Возможно, подобный редукционизм и сведения сложных культурных преобразований к простой системы цифровых комбинаций достаточно противоречивый, однако использование этого методологический принципа позволяет прояснить некоторые сложные культурные явления дигитализированной культуры, где формы и функции перестали быть единым целым.Мета дослідження – проаналізувати та розкрити потенціал нових медіа в контексті трансмедійного універсуму дигіталізованої культури та окреслити  можливі наслідки зміни культурних кодів. Методологія дослідження. У статті використовувався метод когнітивного аналізу та принципу редукціонізму, який  допоміг розкрити "цифрову трансмісію" сучасної культури, а також методи аналізу, синтезу та абстрагування. Наукова новизна. Розглянуто процес трансформації та розмиття онтологічних меж нових медіа – трансмедіа у контексті процесу дигіталізації сучасної культури. Висновок. Цифрова трансмісія даних, закодованих у дискретні сигнали (дигіталізація), призвела до появи особливих властивостей нових медіа, переформатування їх онтологічних меж. Поява трансмедіа, трансмедійних проектів, світів  свідчать не тільки про трансформацію медійної текстуальності (лише технічний аспект),  а й про зміну традиційної матриці культури. Створений «щільний» трансмедійний світ (трансмедійний універсум), що забезпечує не тільки віртуалізацію реальності, а й спонукає до реалізації віртуального, як цілком реального. Такі обставини наділяють неймовірною живучою силою створені наративні лінії, а також підтверджується їх реальність. Розглянуто дигітальну матрицю сучасної культури через призму негативної антропології В. Флюссера. Зроблено припущення щодо можливого процесу де-ескалації, "сходів до низу" (В. Флюссер), що підтверджується технічними змінами нового медіасередовища, які зумовили нову конфігурацію культурних кодів, коли аксіологічна асиметрія бінарних систем замінюється аксіологічною нейтральністю медіальних систем. Медіальна (тернарна) модель передбачає як існування світу зла і добра, так і світу, який не має однозначної моральної оцінки і характеризується самим фактом існування. Можливо, подібний редукціонізм та зведення складних культурних перетворень до простої системи цифрових комбінацій є досить суперечливими, проте використаний методологічний принцип дає можливість прояснити деякі складні культурні явища дигіталізованої культури, де форми та функції перестали бути єдиним цілим

The Kantian Sleep: On the Limits of the “Foucault Effect”

This paper analyzes the connection, established by Michel Foucault in The Order of Things, between the appearance of “man” as an anthropological presupposition of scientific and philosophical discourses, and the construction of a transcendental dispositif of thought. In accordance with this presupposition, the notion of life is conceived by Foucault as a by-product of Kantian modernity and inscribed within a Heideggerian ontotheology. By stressing the vitalist alternatives to this paradigm, the essay questions the hegemony of Western transcendentalism and proposes a naturalistic reorientation of Foucault’s intellectual project.Este artículo analiza la conexión establecida por Michael Focucault en The Order of Things (El Orden de las Cosas), entre la aparición del “hombre” como una presuposición antropológica de los discursos científico y antropológico, y la construcción de un dispositif trascendental del pensamiento. De acuerdo con esta presuposición, la noción de vida es concebida por Foucault como un subproducto de la modernidad Kantiana y está inscrita dentro de la ontoteología Heideggeriana. Al enfatizar las alternativas vitalistas de este paradigma, el ensayo cuestiona la hegemonía del trascendentalismo Occidental y propone una reorientación naturalista del proyecto intelectual de Foucault.Este artigo analisa a conexão estabelecida por Michael Foucault em The Order of Things (As palavras e as coisas), entre o surgimento do “homem” como uma pressuposição antropológica dos discursos científico e antropológico, e a construção de um dispositif transcendental do pensamento. De acordo com essa pressuposição, a noção de vida é concebida por Foucault como um subproduto da modernidade Kantiana e está inscrita dentro da ontologia heideggeriana. Ao enfatizar as alternativas vitalistas desse paradigma, o ensaio questiona a hegemonia do transcendentalismo ocidental e propõe uma reorientação naturalista do projeto intelectual de Foucault

Philosophy Concepts in the Contemporary World

The article is devoted to the analysis of the different coexisting concepts of philosophy. The aim of the article is to emphasize the most significant concepts in philosophy: metaphysical, scientific and anthropological ones, and to define the theoretical motives, which change these concepts, its character and methodology. The need for the new, differential ontology - heterology, which would radically transform the very nature of philosophy, is asserted in this article.Статья посвящена анализу различных сосуществующих концепций философии. Цель статьи - показать наиболее значимые концепции философии: метафизическую, научную и антропологическую, определить теоретические мотивы, меняющие их характер и методологию. В статье провозглашается необходимость новой, дифференциальной онтологии - гетерологии, радикально трансформирующей природу самой философии

Further Questions: A Way Out of the Present Philosophical Situation (via Foucault)

Let us begin by assembling some signs of the present philosophical situation. On the one hand, the most important living French philosopher, Alain Badiou, calls for a “return to Plato,” despite the movement of anti-Platonism that dominated French and German thought in the 20th century. On the other hand, the present moment sees a resurgence of naturalism in philosophy in general (including and especially Anglophone analytic philosophy), despite the criticisms of naturalism that have appeared throughout the 20th century. Phenomenology seems to be at the center of both of these movements. On the one hand, it is the idea of a mathematized ontology that requires the return to Plato, a mathematized ontology constructed without a reflection on its transcendental grounds. On the other, the resurgence of naturalism is so strong that a book could be imagined and published with the bastard name of Naturalizing Phenomenology, as if the transcendental moment of phenomenology did not transform the very meaning of nature. These signs seem to indicate that we have entered into a phase of regression or even decline in philosophical thinking. If this interpretation of the signs is correct, if we have indeed entered into a phase of regression -- a twofold regression toward Platonism and toward naturalism -- we must ask the following question: is it possible for us to define something like a project or even a research agenda that would allow us to define a way of thinking that might lead us out of the present situation, a situation, it must be said, that seems dire for philosophy in general? If we can determine such a research agenda, perhaps we can also begin to understand what the tradition of “continental philosophy” has stood for

The Dimension of Sound in Flusser

The dimension of sound has long been considered completely missing from Flusser's thought, thus most Flusser research has not dealt with the auditive in his work so far. This article has a two-fold approach to counter this common perception; firstly, by looking at three (German) texts in which Flusser deals with music and sound directly – “Chamber Music”, “The Gesture of Listening To Music” and “Hörigkeit/Hoerapparate”, and secondly by looking at Flusser's key text “Crisis of Linearity” which largely ignores sound. The former tackles these lesser known texts to examine how Flusser actively (though rarely) applied music and sound in his work, whilst the latter uses methods of sound studies to critique the absence of sound in his important media-philosophical thesis. Flusser's writings on music and sound are both striking for the contemporaneity yet problematic for their demoded appearance of concepts such as “pure music”. Insights from contemporary sound studies question the dominance of the visual in Flusser's work and the epistemological consequences this might have

Critique and neoliberalism in Michel Foucault

This dissertation argues that Foucault\u27s concept of critique is a practice that principally consists of desubjection and the history of the present. Critique thinks the identity of its historical present on the basis of what escapes this identity. It participates in these escapes by exploring how they challenge the concepts of extant critical discourse and illuminate the existing order of things in their contingent historicality. As the limits of a historical present involve the rules of discourse, the forms of power relations, and the production of subjectivities, critical thought must ally itself with that which undoes existing subjectivities by struggling with and against the limits of the present. Thus critique is an ethical and political practice of desubjecting the critic themselves. I explore this notion of critique by focusing on three pivotal moments in Foucault\u27s trajectory: his critique of anthropology in his earlier archaeological period, his turn to genealogy and the politics of truth, and his study of neoliberalism and subsequent turn to ethics and subjectivation. In the first, I identify how critique as a unity of the history of the present and desubjection emerges in relation to its object, namely, man as the subject and object of anthopological discourse starting in the late 19th century. As the conditions of man–the being of language for Foucault–are fundamentally groundless, critique must take up this groundlessness and pursue the negation of man. In the second pivotal moment, I identify how Foucault\u27s turn to the politics of truth understands the negation of man to be hindered by the practices of power that have produced man as a form of knowledge within various strategies of subjection. Finally, I explore Foucault\u27s conception of neoliberalism as a test of critique inasmuch as it founds subjection on the economic freedom of market subjects. I conclude by exploring insurrectionary communism and cynical destitution as Foucaultian hypotheses for critiquing neoliberalism in practice

Michel Foucault : topologies of thought : thinking-otherwise between knowledge, power and self

If something new has appeared in philosophy and that "this work is as beautiful as those it challenges" we shall see that it all takes place in a new dimension, "which we might call a diagonal dimension, a sort of distribution of points, groups or figures that no longer simply act as an abstract framework but actually exist in space". The spaces that constitute this immanent dimension are topological or as Foucault says - "heterotopological". We shall designate these heterotopologies: Knowledge, Power and Self. Although these sites are irreducible to each other they seep into and 'capture' each other through a series of multiple and complex relations in such a way as to suspect, neutralise or invert the set of relations that they happen to designate, mirror or reflect. If within these sites subjects, objects and concepts disappear it is only in order to 'disperse' or 'distribute' them according to their variable functions and make them reappear again, released of their 'self-evidence', in a new space of immanence. Each heterotopology is capable of juxtaposing within itself and outside of itself, or rather across its folded surfaces, several formed spaces that are not isomorphic or even compatible but are heterogeneous and communicate with or 'encounter' each other through a pure transmission of elements