From the problematic confrontation of a video game project with the multiple conditions ofits creation, the present thesis tries to highlight the constraints and the interrogations whichthey arouse. Contemporary to the information society, the video game is a witness of thecomplex evolution of the postmodern paradigm born from cybernetics. From the genesis ofthe video game to present time, technologies, the ways of playing and the productions revealthe significant oppositions in their visions of the world. The thesis shows that behind theimage of entertainment and of a consensual industry, a form of resistance can express/voiceitself from a technological, artistic and political point of view. Through the history of videogame and its future, one can read some of society's stakes/challenges linked to new formsof power. It is within a counter cultural interstice, and fed by a prior critical exam, thata resistant work/piece is developed. An original creation is progressively built in reflexivecounter cultural opposition to the mainstream dominant liberal world and its accelerationand dematerialization. From a plastic point of view, the thesis questions the return of thevirtual reality technologies, and elaborates two new notions: the experiential vehicle and thesufficient decoy. Taking advantage of this new field of investigation of creation, the thesisinvites the player to let it be used so as to do so. Keywords: Video games. Counter culture.Experiential vehicle. Counter dematerialization. Sufficient decoy. ; De la confrontation problématique d'un projet de jeu vidéo aux conditions plurielles desa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogationsqu'elles suscitent. Le jeu vidéo, contemporain de la société de l'information est un témoinde l'évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèsedu jeu vidéo au temps présent, les technologies, les façons de jouer et les productions serévèlent significatives de visions du monde opposées. La thèse ...
The article describes the postmodern features of Ukrainian language education and psycholinguistic term system, which is important for understanding the direction of optimizing the language situation among young people. Then, after careful selection and multimodal analysis, the authors cite about 30 key features of youth speech in the late postmodern era. The urgency of the topic is determined by postmodernist trends that are still observed in Ukraine, as well as their specific impact on youth speech. The authors used a body of fragments of living youth discourse 2018 - 2020, as well as relevant methods of analysis: psycholinguistic, semantic, culturological, pragmatic (establishing practical motives for the use of language units); the method of establishing correlations between cultural, social and speech phenomena, as well as the method of generalization. The authors came to an important generalization: contemporary youth uses their speech in such a way that it can be decoded differently only in the current discourse - among other carriers of postmodern linguistic consciousness. And this is also a manifestation of the general game, performance and even the way of existence of the individual in a real or hyperreal society that is constantly communicating.
"Starting with the end of the 20th century and the beginning of the 21st century, humanity is experiencing a new societal type, the information society. The emergence of computers, the Internet, digital information, artificial intelligence and digital devices with the ability to automatically process information, work autonomously, or even form networks with other devices, cyber and virtual space and so on have led to a technological explosion and the digitalization of societies. Under these circumstances, the digitalization and virtualization of many human activities and relationships in all societal domains constitutes a postmodern "game changer" of societies. Consequently, digitalization has major repercussions at the level of security and the international security environment. We are witnessing a transition from the nuclear century to the digital century, through the emergence of a new type of human confrontation, the digital confrontation. This new type of confrontation manifests itself both in virtual space, through what we so often hear as cyber war, and in real space, through digitalization of defence and the battlefield. Thus, if the security environment of the 20th century was characterized by globalization under the auspices of the nuclear threat, is it appropriate to consider that the 21st century will be characterized by de-globalization under the auspices of the digital threat?"
The article is devoted to the consideration of the issue of influential modifications of the genre system of modern mass media. It has been established that the mass media are one of the main means of communication for the wide audience. The meaning of the words "modification", "mass media", "mobile journalism", "new media" has been studied. The article notes that "new media" appeared in the 60s of the XX century. The main characteristics of the media are presented. It is noted that the most common examples of mass media are television, radio, newspapers, magazines, social media, digital media, the Internet. The textbooks and publications of domestic and foreign scientists, which raise the issue of influential modifications of the genre system of modern mass media are highlighted. It was found that the first media were newspaper, telegraph, radio, television. The study of the main types of media is emphasized: traditional media, print media, electronic broadcasting media, external media, transit media and new media. It is noted that new media is a reconceptualization of traditional media. The aspect of media in the role of a social institution has been studied. It was noted about the significant impact of digitalization on the global media system. The significant influence of the use of the Internet in the political life of the United States is given as an illustrative example. The use of the "video story" technology as one of the strategies for holding the attention of the reader or listener is considered. The focus is on the interactive storytelling made possible by digital media and provides advantages for interactive television and cinema, as well as helping to create virtual and mixed reality in games, contributing to the emergence of new forms of voice games.
Society is the ensemble/the whole of the relations with the others, it is their form based on the natural needs (objective): the perpetuation of the species, the playful expression, the language, the thinking, the communication, the inter-subjectivity report (based on good morals, social obligations, education, the functioning of the state, the laws, rules and group conventions (in the case of sport, the constraints imposed, exceeding any individual will and transforming the social fact into an objective fact). In the evolution of psychology of human development, sport contributes to the improvement of the body in relation to the environment; of the cognitive, moral development of language, that of complex skills, sensory integrations, games with body schematics, which mobilize self-awareness and (re)structure through learning and experience. Thus, social and communication behaviours generate a mutually advantageous social repertoire.
The dynamics of changing forms of social protest as well as new, postmodern forms of political action at the example of Revolution of Dignity of 2013-2014 and Ukraine-Russia military confrontation in 2014 have been analysed in this article. It has been proved that modern ways of expressing protest differ from the old ones in the use of ironic slogans, performance, creativity and non-violent actions. Revolutionary war space is represented as the accumulation of many genres (photos, graffiti, political posters, installations, sculptures, cartoons, etc.). It has been proved that political action in the postmodern reality is provocative having at its base a game, ritual, and symbolism. The perception of political events through the prism of entertainment has been emphasised.
Imaging as a characteristic of postmodern political action There is analyzed modernization of role–behaviour, new samples of political behaviour in post–modern reality under conditions of information and communication revolution. It is noted that at the age of postmodernism participation and self–expression of the person are actualized through creative forms of mass participation. There is proved research hypothesis that in the postmodern era visualization with game elements maximizes the effectiveness of political action. Attention is drawn to that new forms of political action have emotional charge effect and common deed sense. It is proved that new forms of political action have emotional charge effect and common deed sense. There exists a strong convergence of policies with different art forms. There are analyzed four forms of postmodern political action visualization: street art, installation, flash–mob, performance
The article presents a research work in a context of highlighting the peculiarities of development of Ukrainian choral art. The research describes the main theoretical and methodological approaches to defining the essence of choral art and postmodernism as a basis for the formation of a new worldview, a new thinking, which is a sign of a challenge of modernity. The basic context of formation of choral art is researched. The results of the research form the main historical trends in a development of choral art in the context of a basis of a human worldview and factors shaping an idea of worldview as a cultural manifestation of an era.
In the research the tendencies are identified in postmodern influence on the development of a culture, in particular choral art. Postmodernism is defined by a worldview that has become a challenge to the social development in the post-industrial era. In postmodern period appear art movements of surrealism, abstractionism, impressionism, symbolism and other cultural and art movements, which are reflected in an unrealistic way, indicating new trends in a new society.
We used analytical and research methods, a characteristic of music and game activities. Methods of a synthesis, an analysis and interpretation of choral art in a context of development of the Ukrainian culture were used for the research. The results of the research confirmed that in the conditions of postmodernism new tendencies of choral art are formed, which presents mental features in a context of information, a post-industrial society.
Time, representation, and postmodern memory -- Naming, representing : postmodern onomastics -- Remembering the posthuman : intimations of heterogeneity -- "The collapse of distance" : ontological frameworks and enframing games for a disenchanted world -- Representation, unreadability, intertextuality : reading the postmodern sublime
In 2007, acclaimed Taiwanese postmodern poet Hsia Yü published a transparent book of bilingual poems generated mostly from weblogs (in English) and from a computer translation program (in Chinese). The book, Pink Noise (now available on Amazon), has ignited enthusiastic responses among Hsia Yü's "lay readers" in Taiwan, but like many other postmodernist works from a postcolonial context, has not yet received much critical attention. The essay begins with the question of locating or localizing Hsia Yü's postmodernism in postcolonial, post-Martial-Law Taiwan, reading the form of layered transparency and the play with (artificial) language and (machinic) translation not as a free play of signifiers or equivalent of concrete or conceptual art but as a realistic representation of digital (uneven) globalization. Reading Hsia Yü's bilingual poems closely through Lacan's theory of alienation and Wittgenstein's ideas on nonsense, the essay shows that the English/Weblish and the Chinese/Translationese can be read as different kinds of language games which are signposts to the questions concerning the status of English as a global language, the loss and love of translation in a postcolonial context, the return from narratology to a musicology of poetry, and the tremendously rich "nonsense" that happens when two heterogeneous and disparagingly hegemonic national languages meet. In conclusion, Pink Noise , unlike modernism with its implicit claim to whiteness, trans-lates negative dialogics into a convivial romance of poetry.
Involvement of a modern performer in the dialogue of concepts of recompense and biocentrism regulates its experimentation with bio and recorded music by awakening a sense of responsibility at the level of the epigenetic rule. Therefore, the purpose of this article is to substantiate a pedagogical model of bioethical education of a musician-performer - creation of a favourable environment to motivate them to comprehend the value of what serves as confirmation of God-like dignity of a person and the general weal for the glory of the Creator. The essence of the proposed pedagogical model is the concept of musical performance as a workroom of soul. Its leading idea is metaphorization of the intonated sense of emotional revelation as an anthropological discourse. Specifically, the basis of the proposed model appears the connectivism theory of metaphorical interpretation. The direction of such performative activity is determined by the strategy of creative clustering, which involves playing out of music scenarios of the value-based choice on the path to "creative innocence" or "the path of the heart". The regulatory function in implementation of the mentioned strategy performs the methodology of pedagogical and metaphorical creativity. The technology of performative improvisation and the contextual approach to the game are factors in activating the mental resources of the musician-performer. The effectiveness of implementation of the proposed pedagogical model provides creation of a special event platform in the art laboratory.
The relentless informational variability in the field of natural sciences, today's need for the training of highly competent, versatile, apologetic future specialists, as well as the low motivation of psychology students to teach natural disciplines, was established by us in the process of their questioning, require the search for new, non-standard solutions in the organization of natural science training of future psychologists in institutions of higher education. We believe that one of the effective ways to solve this problem is the organization of the educational process with the natural scientific training of future psychologists in higher education institutions based on innovation and heuristic. To organize the educational process from the natural science training of future psychologists on the basis of innovation and eurestiality, there is a need to determine such ultra-innovation pedagogical technologies and teaching methods that will meet the requirements of the time, contribute to the formation of psychology students' motivation to study natural sciences and improve the quality and the effectiveness of natural science training. We have characterized pedagogical technologies, namely: coworking technology, barcamp technology, workshop technology, SMART technology, BYOD technology and such innovative methods as: lecture-visualization, video lecture, debates, round table, electronic brain assault , a laboratory experiment and a design-role-playing game, which, in our opinion, will contribute to the implementation of the educational process with the natural science training of future psychologists in higher education institutions based on innovation and heuristic.
Intro -- After the Orgy -- Contents -- Preface -- Acknowledgments -- Introduction: After the Orgy -- The Dating Game -- The Coming of the Lord -- Technological Revelation -- A Note on Methodology -- 1. Panic Merchants: Prophecy and the Satyr -- The Goat in the Machine -- 2. The Rapture of Rupture -- Sade and the Death of God -- Avoiding the Void -- Eroticism and the Thanatic Asymptote -- Nietzsche's Dionysus -- Nihilism and the Thirst for Annihilation -- 3. The Virtual Apocalypse -- Virilio's Accident -- Bacchanical Man and Ballard's Crash -- Technol-orgy: From Autogeddon to Infocalypse -- Snow Crash and Scopophilia -- Cyborgies in the Dionysian Landscape -- Carmageddon -- 4. Decaying Forward: Satiety and Society -- De-fragging the Self -- Technologies of the Flesh -- 5. Cosmic Architects -- Immaculate Contraception -- Sexless Hydrogen: The Frisson of Fission -- Dionysus in '69 -- The Politics of Play -- 6. Playing at Catastrophe -- Prêt-à-Mort: Necrophilia and Death Fashion -- Close Encounters of the Third Kind: the Joachite Structure of Baudrillard's Philosophy -- "A Biocybernetic Self-Fulfilling Prophecy World Orgy I": Or Surviving the Necropolis -- Temporary Autonomous Zones and the Archaic Revival -- Civilization and Its Discotheques -- After the Orgy (But Before the Test Results) -- 7. Conclusion: The Revelation Will not be Televised -- Y2Care: Debugging the Millennium -- The Owl of Minerva Versus the Millennium Falcon -- Means to an End -- Notes -- Works Cited -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- X -- Y -- Z.
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The article deals with phenomenological analysis of semantic structures of ur-fascism as a phenomenon of the totalitarian mind. The main methodological guidelines of intentional analysis of ur-fascism are the categories: archetype, symbol, world view, mentality and identity. In the article the basic principles of Eternal Fascism in postmodern aesthetics are given with the current of contemporary cultural context (monism, populist elitism, militarism, leaderism, traditionalism, xenophobia). Author of article stresses the principle of fear of Alien as an enemy, mechanisms of simulation of image of which in modern media are the simulation and reduction. The mechanisms of spread of ur-fascism are classified by the playing of variable groups (abc bcd cde def), which singled out four models of identity inUkrainenow (liberal, conservative, conservative radical, modern).The long process of deideologization in today's multicultural world, which called postmodern, has led to a complete identity crisis. The process of simulation, virtualization rise to alienation, loss of faith, the decline of moral values and a giant existential hiatus. Abyss of life and death is offset, the devaluation of the ethical meaning of culture is being continued. The moral and ontological lack serves as a bifurcation point in the socio-cultural system, all possible fluctuations may choose as the recipe rescue "new Middle Ages" when the revival take place in the form of renaissance of moral and ideology. This process risks result in the triumph of the so-called "eternal" (primary) fascism (ur-fascism) as archetypal symbolic structures found in the deepest layers of the collective unconscious. All said is relevant to the Slavic societies especiallyUkraineandRussia, due to the war situation and accelerated national traditions.Objectives of the study are: to expand based features of ur-fascism in postmodern aesthetics given the current cultural context$ emphasize the role of xenophobia in ur-fascism through phenomenology of Alien (based on the categories of "fear", "simulation", "reduction")$ to demonstrare the mechanism of ur-fascism spread through variable groups (abc bcd cde def), which distinguish four basic models of identity in contemporary Ukraine (liberal, conservative bureaucratic, conservative radical, modern).Research methods are: phenomenological (an objective description), comparative (comparison of patterns of identity and principles of the studied phenomenon), game (opening of mechanisms of the phenomenon), hermeneutic (penetration into the meanings of texts) semiotic (decoding symbols), deconstructivistic (search marginal values in texts senses and consciousness), psychoanalytic (probing archetypes ur-fascism).Characteristic features of ur-fascism that does not lose its relevance for totalitarian cultures of our time are: the creation of a single world view based on scientific or philosophical voluntarism, perceived as the "solidarity" of the faithful; demagogy chosen group of people, leading to an imaginary society of "salvation" through the real "fight"; the idea of "war for war", supported intimidation fictional "attacking", "treason" and "conspiracy" contempt for pacifism as signs of "fraternizing with the enemy", the cult of the charismatic leader of Persons as an expression of hope collectivist militant masses; Indirect-notion of intellectual knowledge as a source of danger existing order and appeal to the mythological origins of culture (Golden Age), idealization of folk, romantic ethnographism with constant rotation to quasi-religious archetypes, xenophobia and nationalism in extreme forms - racism, game of attraction and repulsion of Alien, cult of nation, class, religious or civilizational community as a benefit group over the individual, and of other groups, domination, violence - as a result of monistic universe, dually breaks for the archetypal pattern of "we - they" or "my - Alien"" and assumes the character of irreconcilable binary opposition of Chaos - Cosmos. ; Статья посвящена феноменологическому анализу смысловых структур ур-фашизма как феномена тоталитарного сознания. Основными методологическими ориентирами интенционального анализа ур-фашизма является категории: архетип, символ, картина мира, ментальность, идентичность. Раскрыты основные принципы Eternal Fascism в постмодернистской эстетике, учитывая современный культурный контекст (монизм, популистский элитаризм, милитаризм, вождизм, традиционализм, ксенофобия) с акцентированием принципа страха перед Чужим как врагом, механизмами моделирования образа которого в современных медиа являются симуляция и редукция. Раскрыты механизмы распространения ур-фашизма через вариативную игру группировок (abc bcd cde def), по которым выделено четыре модели идентичности в современной Украине (либеральная, консервативная, консервативная радикальная, современная). ; Стаття присвячена феноменологічному аналізу смислових структур ур-фашизму як феномена тоталітарної свідомості. Основними методологічними орієнтирами інтенціонального аналізу ур-фашизму є категорії: архетип, символ, картина світу, ментальність, ідентичність. Розкрито основні принципи Eternal Fascism у постмодерній естетиці з огляду на сучасний культурний контекст (монізм, популістський елітаризм, мілітаризм, вождизм, традиціоналізм, ксенофобія) з акцентуванням принципу страху перед Чужим як ворогом, механізмами моделювання образу якого в сучасних медіа є симуляція та редукція. Розкрито механізми поширення ур-фашизму через варіативну гру угруповань (abc bcd cde def), за якими виокремлено чотири моделі ідентичності в сучасній Україні (ліберальна, консервативна, консервативна радикальна, модерна).
The article deals with phenomenological analysis of semantic structures of ur-fascism as a phenomenon of the totalitarian mind. The main methodological guidelines of intentional analysis of ur-fascism are the categories: archetype, symbol, world view, mentality and identity. In the article the basic principles of Eternal Fascism in postmodern aesthetics are given with the current of contemporary cultural context (monism, populist elitism, militarism, leaderism, traditionalism, xenophobia). Author of article stresses the principle of fear of Alien as an enemy, mechanisms of simulation of image of which in modern media are the simulation and reduction. The mechanisms of spread of ur-fascism are classified by the playing of variable groups (abc bcd cde def), which singled out four models of identity inUkrainenow (liberal, conservative, conservative radical, modern).The long process of deideologization in today's multicultural world, which called postmodern, has led to a complete identity crisis. The process of simulation, virtualization rise to alienation, loss of faith, the decline of moral values and a giant existential hiatus. Abyss of life and death is offset, the devaluation of the ethical meaning of culture is being continued. The moral and ontological lack serves as a bifurcation point in the socio-cultural system, all possible fluctuations may choose as the recipe rescue "new Middle Ages" when the revival take place in the form of renaissance of moral and ideology. This process risks result in the triumph of the so-called "eternal" (primary) fascism (ur-fascism) as archetypal symbolic structures found in the deepest layers of the collective unconscious. All said is relevant to the Slavic societies especiallyUkraineandRussia, due to the war situation and accelerated national traditions.Objectives of the study are: to expand based features of ur-fascism in postmodern aesthetics given the current cultural context$ emphasize the role of xenophobia in ur-fascism through phenomenology of Alien (based on the categories of "fear", "simulation", "reduction")$ to demonstrare the mechanism of ur-fascism spread through variable groups (abc bcd cde def), which distinguish four basic models of identity in contemporary Ukraine (liberal, conservative bureaucratic, conservative radical, modern).Research methods are: phenomenological (an objective description), comparative (comparison of patterns of identity and principles of the studied phenomenon), game (opening of mechanisms of the phenomenon), hermeneutic (penetration into the meanings of texts) semiotic (decoding symbols), deconstructivistic (search marginal values in texts senses and consciousness), psychoanalytic (probing archetypes ur-fascism).Characteristic features of ur-fascism that does not lose its relevance for totalitarian cultures of our time are: the creation of a single world view based on scientific or philosophical voluntarism, perceived as the "solidarity" of the faithful; demagogy chosen group of people, leading to an imaginary society of "salvation" through the real "fight"; the idea of "war for war", supported intimidation fictional "attacking", "treason" and "conspiracy" contempt for pacifism as signs of "fraternizing with the enemy", the cult of the charismatic leader of Persons as an expression of hope collectivist militant masses; Indirect-notion of intellectual knowledge as a source of danger existing order and appeal to the mythological origins of culture (Golden Age), idealization of folk, romantic ethnographism with constant rotation to quasi-religious archetypes, xenophobia and nationalism in extreme forms - racism, game of attraction and repulsion of Alien, cult of nation, class, religious or civilizational community as a benefit group over the individual, and of other groups, domination, violence - as a result of monistic universe, dually breaks for the archetypal pattern of "we - they" or "my - Alien"" and assumes the character of irreconcilable binary opposition of Chaos - Cosmos. ; Статья посвящена феноменологическому анализу смысловых структур ур-фашизма как феномена тоталитарного сознания. Основными методологическими ориентирами интенционального анализа ур-фашизма является категории: архетип, символ, картина мира, ментальность, идентичность. Раскрыты основные принципы Eternal Fascism в постмодернистской эстетике, учитывая современный культурный контекст (монизм, популистский элитаризм, милитаризм, вождизм, традиционализм, ксенофобия) с акцентированием принципа страха перед Чужим как врагом, механизмами моделирования образа которого в современных медиа являются симуляция и редукция. Раскрыты механизмы распространения ур-фашизма через вариативную игру группировок (abc bcd cde def), по которым выделено четыре модели идентичности в современной Украине (либеральная, консервативная, консервативная радикальная, современная). ; Стаття присвячена феноменологічному аналізу смислових структур ур-фашизму як феномена тоталітарної свідомості. Основними методологічними орієнтирами інтенціонального аналізу ур-фашизму є категорії: архетип, символ, картина світу, ментальність, ідентичність. Розкрито основні принципи Eternal Fascism у постмодерній естетиці з огляду на сучасний культурний контекст (монізм, популістський елітаризм, мілітаризм, вождизм, традиціоналізм, ксенофобія) з акцентуванням принципу страху перед Чужим як ворогом, механізмами моделювання образу якого в сучасних медіа є симуляція та редукція. Розкрито механізми поширення ур-фашизму через варіативну гру угруповань (abc bcd cde def), за якими виокремлено чотири моделі ідентичності в сучасній Україні (ліберальна, консервативна, консервативна радикальна, модерна).
