SCIENTIFIC AND EDUCATIONAL SOCIETY FOR CULTURAL STUDIES
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Culture of culture

Scientific peer-reviewed electronic periodical
Since 2014

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Hypotheses:

ANTHROPOLOGY

A.Ya Flier. Human cultural interests

 

Discussions:

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

A.Ya. Flier. Analytical commentary on the Normative Theory of Culture

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 (continued)

V.M. Rozin. "Self" as a condition and mechanism of personality formation

A.A. Pelipenko. The subject and civilization after the Dualistic Revolution (ending)

 

Analytics:

CULTURAL REFLECTIONS

A.J. Flier. Returning to the topic of cultural genesis: response to readers' letters

N.A. Khrenov. 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)

V.M. Rozin. Renewal of subjectivity: the role of reflection, schemes, meaning formation

V.I. Grachev. Knowledge and understanding in communication processes and other types of communication in modern culture
 


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 emerged on the basis of technology, have themselves become the basis for 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.

[47] Manovich L. Decree. op. p. 150.
[48] Mikhalkovich V. Train and ghosts // The Art of Cinema. 1995. No. 11.p. 7.
[49] Ibid. p. 219.
[50] Ibid.
[51] Sontag S. About photography. – M.: Ad Marginem Press, 2013. p. 233.
[52] Deleuze J. Simulacrum and ancient philosophy // Deleuze J. Logic of Meaning – M.: Academic Project, 2011. pp. 330, 328-365.
[53] Eco U.An open work.Form and uncertainty in modern Poetics. – M.: AST: Corpus, 2018. p. 316.
[54] Krauss R. Photographic: the experience of the theory of discrepancies. M.: Ad Marginem Press, 2014. p. 296.
[55] Deleuze J. Decree Op. S. 330.
[56] Krauss R. Decree. Op. C. 294.
[57] Ibid., p. 295.
[58] Ibid.
[59] Deleuze J. The logic of meaning.p. 333.
[60] Sontag S. Decree. Op. C. 12.
[61] Barbier F. Decree. Op. C. 421.
[62] Vartanov A. Photography: document and image. – M.: Planeta, 1983. pp. 264-272; Khrenov N. The puppet as a cultural phenomenon: mythological and anthropological aspects. p. 141.
[63] Berdyaev N. Philosophy of creativity, culture and art: In 2 vols. Vol. 1. Moscow: Iskusstvo, 1994. pp. 403-510.
[64] Ibid., p. 403.
[65] Orlov A. Virtual reality. The space of screen cultures as a habitat. M.: "Geo", 1997. p. 77.
[66] Ibid. p. 51.
[67] Ibid. p. 78.
[68] McLuhan M. Gutenberg Galaxy.P. 59.
[69] Ibid. p. 384.
[70] Khrenov N. New visual as a problem of culture. M.-St. Petersburg: Center for Humanitarian Initiatives, 2019.
[71] Pasolini P.-P. Poetic cinema // The structure of the film. Moscow: Raduga, 1984. p. 47.
[72] Greenway P. "Cinema is not suitable for narration ..." // The Art of Cinema. 1997. № 9.
[73] Eisenstein S. Selected works: In 6 vols. Vol. 2. Moscow: Iskusstvo, 1964. p. 285.
[74] TodorovTs. Theories of symbol. Moscow: House of Intellectual Books; Russian Phenomenological Society, 1998. p. 343.
[75] Yampolsky M. The Visible world.Essays on Early Film Phenomenology. Moscow: Scientific Research Institute of Cinematography, 1993. p. 4.
[76] Krauss R. Decree. Op. C. 121.
[77] Ibid., p. 105.
[78] Ibid., p. 115.
[79] Ibid., p. 160.
[80] Balash B. Culture of cinema. L., 1925.
[81] Kristeva Yu. Selected works: The Destruction of poetics. M.: ROSSPAN, 2004. p. 138.
[82] Saussure de F. Works on Linguistics. M., 1977. p. 101.
[83] Barbier F. Decree. Op. C. 142.
[84] Ibid., p. 133.
[85] Ibid., p. 104
[86] Ibid., p. 74.
[87] Burkhardt Ya. Culture of Italy in the Renaissance.M., 1996. p. 176.

 

 

ISSN 2311-3723

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