Culture of culture

Scientific peer-reviewed electronic periodical
Since 2014


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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




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




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)

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Nikolay Andreevich Khrenov,
Doctor of Philosophy, Professor,
All-Russian State University
of Cinematography named after S.A. Gerasimov.

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)

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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Scientific Association of Culture Researchers

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