The article is devoted to the consideration of historical dynamics of the organization's means of cultural practices in Ukraine, in their power and politically-technological perspective, taking into account their optic modes. The difference between classical culture industry and global culture industry is formulated by British researcher Scott Lash is basis of our analysis. It is also taking into account his distinguishing a high culture model of Enlightenment in contrast to a cultural industry. Everyone has its own specificity in the constructing of cultural practices within the organizational dominance of social institutions. In describing the features of each historical form of cultural practices, an attempt has been made to outline their specificity in the Ukrainian cultural space. Each historical type of cultural practices organization (high culture, the classical culture industry, global industry of culture) has its own ways of involving in political technology, its mediators, and the modes of vision. The early Modern form of the material culture production was balanced by the normativity of social institutions and their disciplinary practices. The discursive practices of Modern provided the status of a high culture and its model of power-over. Its textual mode of vision served the cultural practices of the implementation of the national state. The classical culture industry on the basis of commodification ensures the penetration of the principle of identity in the sphere of cultural practices. Vision mode of the spectacle is the basis of the visual culture in the stage of its industrialization. The global culture industry carries out immanent power such as working from within. There is a global mediation of things. De-differentiation of the principles of reflexivity and spectacle creates a new mode of vision as the transparency of the Internet-space. Classification of ways of cultural practices organization is intended to clarify the situation in contemporary Ukrainian culture.
The modern world includes many technologies, without which it is already quite challenging to imagine our life. Every day we receive information through the visual perception of reality; images of objects are built through various images in our head. After that, a whole system of concepts, knowledge, and ideas about the world is formed. The constantly changing environment of our time, endlessly replaced by images that are prepared in the form of images by our consciousness, is a multimedia sphere consisting of useful information, various video sequences, animated computer graphics and the Internet. In their research, the authors set the task to study the phenomenon and directions of visualization of culture using computer technology. For this, the authors analyzed the theoretical and methodological basis, which allowed them to put forward 3 hypotheses. Further, the authors conducted several studies from 04.2019-10.2020. As a result of which 2 hypotheses were confirmed, one was refuted, showing the importance and necessity of visualizing culture through computer technologies.
The Babyn Yar memorial complex is one of the few Holocaust memorial spaces in Eastern Europe, located on the site of the mass murder of people during the occupation of Kyiv by German troops in 1941-1943, especially the Jewish population. The article presents the study of logic and aesthetics of memorial space with the help of concepts optics of "Symbolic Architecture" (Georg Hegel), "Sublime" (Immanuel Kant), as well as "Greate Tradition" (Robert Redfield, Milton Singer) and "Walking" (Olga Freidenberg). This optic helps to understand the specificity of de-differentiation of the cultural landscape of historical place and symbolic architecture, as well as the augmented reality in the practice of memorial procession and community, which it constructs through the oppositions highlighting of subterranean and terrestrial, visual and audible, whole and fragmented, and symmetrical and shapeless. Spatial forms of cultural memory organization help avoid memorycide outside ideological disputes and Europeanization of Holocaust tragedy images. It can be noted that the tragic events of World War II, which revealed the "Dialectic of the Enlightenment" and the dark side of Modernity in general, led to the need to re-organize the space of cultural memory. There was a lack of only the internalized structures of the subject and only discursive forms of its objectification to preserve and transmit grief of this level of intensity. The Ukrainian experience of visualizing the tragedy of the Holocaust continues the traditional means of symbolic architecture length and monumentality, sublimity. At the same time, the scale of the complex allows to diversify the practices of the image and thus make new connotations in the practice of its memorialization. In particular, a variety of forms of symbolic architecture and augmented reality was a successful technique, which allows to emphasize the status of the procession as a form of cultural memory, as well as to successfully use the landscape of the historical city in the logic of de-differentiation of subterranean and terrestrial, where other forms of syncretism visual and audio integral and fragmented, symmetrical and shapeless – serve as artistic techniques that work to increase the involvement in the space of the memorial actor of cultural memory.
The article is devoted to analyze of the signification mode of symbolic architecture. An attempt is carried out to detect the difference between the symbolic form of the ritual and the symbolic architecture, as well as the semantic shift that this distinction causes the organization of symbols to generate. Application of strategies of semantic analysis to the material of aesthetics G. Hegel allows not only to expand the horizons of applied applied semantics, but also to understand the patterns of formation of artistic culture and aesthetic process in general. Using strategies of semantic analysis to the material of G. Hegel's aesthetics allows not only to expand the horizons of applied semantics, but also to understand the patterns of formation of art and aesthetic process in general. Symbolic architecture does not serve anything, in contrast to the functional one. It is self-sufficient in the sense of human self-production as a cultural entity in the process of the signification regime reorganizing of early forms culture and the implementation of the semantic shift of the Neolithic revolution. Self-sufficient architecture has such irrationally gigantic sizes, since the form of monumentality was designed to "localize the Numinous". The savage efforts of the cyclopean clutches were a kind of Potlatch, curbing the evil force of the "The Accursed Share", reducing the conflict potential of the community, whose conditions of survival were changing in the agrarian wave movement. The gift magic could no longer cope with the new situation, and therefore the sacrifice of production time, and just the human sacrifice (René Girard), was the answer to the new civilization challenge. Nevertheless, the monumental architecture remained a signification mod of symbolism. After all, the latter was a non-differentiation of material, cultural and social, as well as production-consumption-pleasure. That was, self-sufficient architecture was a cultural practice of mimetic restoration of itself (without primacy of contemplation). What actually was expressed in the semantic shift of the symbolic order, which did not involve poly- ontology, the presence of the referent. It was not a reflection, but part of the very action mode. The special part that concentrated, localized the scattered sacred in the pre-civilization state of affairs. The semantic shift manifested itself in another way of organizing the very symbol, primarily in another dominant order of signs. After all, symbolic architecture is still syncretic cultural practice, but which itself was the medium of other cultural practices. The development of symbolic architecture became a basic ritual that provided a balance of other cultural practices.
The paper is devoted to the analysis of the variability of historical forms of comic, in particular the specifics of the organization of contextual socio-cultural practices and the appropriate way of the syndication. For this angle of study, reference is made to the works of modern British scholar Scott Lash, who substantiates the methodological connection of the cultural paradigm and the signification mode. The comparison is made out of the specifics of the organization of a comic in the conditions of the ancient Greek policy and modern Ukrainian politics. Postmodern synthesis of political comic and administration of horror testifies to a new level of cultural de-differentiation, and is a symbol of the end of the social. The horror of the total chaos of personified corruption highlights the ironic evidence of their political scheme and the comic populism of their representations. Unlike the comic of Antiquity, where theatrical satire was a way of social criticism of political leaders, and, consequently, a way of increasing meaning, the comic populism of post-modernity is a way of concealing the disappearance of meaning. Although both historical versions of the interaction of political and comic work in the logic of the sign. The analysis of Ukrainian situation has its own specific of the synthesis of political comic and administration of horror.
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