The Journal of V. N. Karazin Kharkiv National University. Series "Theory of Culture and Philosophy of Science"

CONTEMPORARY ART IN GLOBALIZATION CULTURAL TRANSFORMATIONS: ANTAGONISM AND TEMPORALITY

2024-06-03T15:28:18+00:00

This article considers the strategies of art conceptualization in theoretical explorations of the late 20th and early 21st centuries. It is proposed to critically review the concepts of postmodernism and metamodernism as those that are devoid of heuristic potential and no longer correspond to current theoretical demands. One of the main shortcomings of postmodern theories of art is their lack of understanding of the antagonisms that determine the cultural and political-economic processes of the early 21st century. To break a deadlock of postmodern theories, it is suggested to consider art within theories of modernity and globalization transformations.

Philosophical understanding of globalization is possible if to spatially and temporally clarify its meaning. World concepts are critically reviewed in the modern philosophy of A. Badiou, J.-L. Nancy, E. Glissant and in the art curatorial practices of J.-H.Martin, H.-U.Obrist It is important to distinguish between the understanding of the world as Mondus, which in the historical tradition is connected with finitude, and the geometric interpretation of the world as Globus, which denotes perfection and infinity. Mondialization is accordingly opposed to globalization, as the polyphony of unification. While another approach determines the dependence of globalization on postmodern theories and emphasizes the relevance of the very concept of globalization, which is considered in the temporal dimension.

An alternative to postmodern and metamodern concepts of art can be formed on the basis of the philosophical explorations of P. Osborne and K. Bishop. They define contemporary as the temporality of globalization. Art becomes contemporary when it reproduces the antagonisms between the globality of totalization and the locality of subjective positions, between historical time and the multiplicity of temporalities. As an example of modern art of "double coding", the projects of the fictional art association Atlas Group are considered. Particular attention is paid to curatorial practices within the concept of dialectical contemporaneity by K. Bishop. The researcher opposes the coexistence of multiple temporalities and "presentism", fixation on the present time. It is substantiated that modern art not only represents antagonisms but also performs a prognostic function and constructs a political imaginary.

B.WALDENFELS'S RESPONSIVE TOPOGRAPHY OF FOREIGNNESS: ART'S RESPONSES TO CONTEMPORARY CHALLENGES

2024-06-03T15:28:24+00:00

The purpose of the study is to consider the topography of foreignness of Waldenfels as an example of a possible phenomenology of modern art and all the contradictions of the modern artistic image. Research methods – hermeneutics, phenomenology, responsive phenomenology of B. Waldenfels, philosophy of art, discursive and art analysis, philosophy of trauma. Scientific novelty. It is proved that modern postmodern and metamodern culture is characterized by the understanding of the Stranger and alienation. The best theoretician of the problem of the Stranger and the meeting of a person with a stranger is B. Waldenfels. For the first time, the phenomenology of someone else's Waldenfels was applied to understand the philosophy and imagery of modern Ukrainian art. The stranger can acquire both positive semantics, the gradual development of the city, and hostility, the threat of depopulation, the disappearance of human features in the city, where the city can become a symbol of the destruction and oblivion of the usual world of a traumatized person. Conclusions. Modernism was characterized by the loss of reality in space, this becomes irony in postmodernism and alienation in metamodernism. Control and totality are trying to be destroyed by the postmodern, instead we see that the postmodern has to meet the Stranger as a threat and a possible participant in the dialogue. Modern art insists on the polyphony of such a dialogue, and that the pleasant and unpleasant features of the Stranger must be accepted. Postmodern art refuses to reflect on violence, which leads to worldview crises and is one of the ideological bases of wars, in particular the Russian-Ukrainian one. One of the ways to describe such a situation is to describe the images of modern art as phatic and dynamic. Efforts to achieve harmony and pure form level the distance. The introduction of distance and emptiness in the artistic image of postmodern and metamodern corresponds to the distances of the material world, defines postmodern art. Based on the explication of Waldenfels' phenomenology of alienation, it is possible to consider contemporary art and most of its existing contradictions as a dual process - both the emergence of alienation and delocalization of old cultural spaces, and the creation of new digital and media spaces of social solidarity.

KNOWLEDGEON THE MARKET: THE DILEMMA OF SCIENCE POPULARIZATION

2024-06-03T15:28:27+00:00

Modern science is complicated and redundant for ordinary people. In the rapidly evolving landscape of modern science, the intricacies of research and discovery often find themselves distilled into digestible forms for the general public. This simplification, however, may not be sufficient in a world where science competes for attention in a marketplace flooded with information. The article delves into the shifting dynamics of science popularization, transcending traditional educational roles and venturing into the realm of marketing. In this era, science is not merely a body of knowledge; it is a brand, and its promotion necessitates a blend of credibility and emotional appeal. The narrative explores how the popularization of science is undergoing a transformative shift, moving beyond the educational sphere and embracing marketing strategies. The article contends that, in order to gain public trust, science is increasingly presented as a marketable "product" with the tagline “Confirmed by science”. This phenomenon reflects a departure from conventional educational approaches, as science seeks to inspire confidence in consumers akin to commercial products.Moreover, the article examines the role of pop culture in reinforcing trust in rational knowledge through emotional connections. It explores how honorable names, ethical considerations, and the self-evident nature of scientific findings contribute to the creation of a new mythology around science. In this context, science becomes more than a set of facts; it transforms into a narrative that resonates with individuals on a deeper, emotional level.The discussion within the article is framed around the ambivalence inherent in these modern methods of science popularization. While the blending of science and marketing may enhance accessibility and engagement, it also raises questions about the potential distortion of scientific information and the ethical implications of turning knowledge into a marketable commodity. The article aims to stimulate reflection on the evolving relationship between science, marketing, and popular culture in shaping public perceptions of scientific endeavors. It turns scientific knowledge into new mythology. This article is devoted to ambivalent modern methods of science popularizing.

PATHOS AND ETHICS

2024-06-03T15:28:32+00:00

The article analyzes the importance of pathos, i.e. sensory-logical worldview for ethics. The relevance of the study of pathos states in the ethical context is due to the insufficient development of terminology in this area, as well as the complex and multifaceted connection between ethics and emotions. The purpose of the article is to present and analyze the concept of passion and its significance for ethics. The aim of the article is to prove that an understanding of pathos can be useful for ethical theories. Passion in the sense that we presented in the work does not distance a person from the truth, but brings him closer to knowing himself and the surrounding reality through his subjectivity. States of mind not only influence our decisions and shape our psyche, but demonstrate that an individual think with feelings. Such a situation seems paradoxical, but in human thinking it is really difficult to separate the rational grain and its emotional coloring. At the same time, passion is not only an emotional coloring – a connotation, but also forms a denotation. Feelings encourage thinking and direct attention to a specific element of thought. Passion is connected to the center of thought and action, and is not only driven by the psyche. The state of the human psyche affects ethics, but this influence can occur in different ways. Pathos influence on ethics cannot be limited to the concept of emotivism, because it cannot be assumed that all our ethical beliefs depend entirely on the emotions they evoke in the individual. Ethics has its own unique sphere, which cannot be explained by psychophysical determinism, and the ethics of emotivism does not give sufficient grounds to consider itself the only theory capable of providing answers to the complex relationship between passion and ethics. Therefore, the concept of passion is of great importance for existentialism, voluntarism and emotivism, as well as other ethical theories. As a conclusion, it is necessary to state that passion is individual, although we can single out its regularities and social influence. Passion does not negate logic – passion creates a narrative from which thinking, logic, and science emerge. Pathos can turn out to be something that fills the gap, combines ethics and psychology, but not on the basis of eclecticism, but on the basis of philosophy: ethics and epistemology.

THE CONCEPT OFOPERATIONAL TRUTH IN CONTEXT OF THE WESTERN AND EASTERN CULTURE AND PHILOSOPHY PARADIGMS

2024-06-03T15:28:37+00:00

The article proposes to introduce and analyze the concept of operational truth, its possibilities and prospects in the context of the paradigms of Western and Eastern philosophy. We define operational truth as one that does not pretend to be a reflection (or another way of representation) of reality, but prompts to the corresponding experience of reality or at least thinking, that is, as one that represents a certain stimulus, an impetus to the corresponding type of vision. As the most vivid example of this truth, we offer the instruction for no-thinking, the attainment of a state of thoughtlessness in meditation, an instruction that means primarily a state of concentration, in which no-thinking is rather a criterion of the depth of concentration during meditative sessions, rather than the renunciation of thinking as such. Examples of how the operational moment manifests itself in the theories of the free market and homo economicus are also analyzed; and a comparative analysis of operational truth in relation to pragmatic and instrumental truth theories and traditional operationalism in epistemology.

It is also proposed to analyze how operational truth works in Indian, Chinese, Ancient, Abrahamic and Modern scientific paradigms of thinking, in particular it is shown how the statement of Christian theology that God created the world and attributed to it the laws of operation (laws that are the laws of nature) becomes operational truth, on the basis of which the natural sciences develop in the future. It’s also shown how the ideas of reincarnation, samsara and liberation become an operational truth for the Indian paradigm, and the idea of organismism an operational truth for the search for universal harmony in Chinese philosophy, and the value of agon-competition a basic operational truth in ancient Greek philosophy.

VISUAL MEDIA INTHE CONTEXT OF ZYGMUNT BAUMAN'S THEORY OF «LIQUID MODERNITY»

2024-06-03T15:28:41+00:00

The article delves into the cultural-philosophical exploration of new visual media through Zygmunt Bauman's concept of «liquid modernity» (1925–2017), with a specific focus on the role of these media in shaping identity. The appeal of media is attributed to their pervasive presence in modern life, where smartphones are seen as extensions of the human body, and news feeds deliver a rapid, uncontrolled stream of photos and videos. Examining new media within the framework of liquid modernity can potentially reveal a significant correlation between these phenomena, complementing Bauman's concept of life strategies in this era.

The article outlines Bauman's key strategies in influencing contemporary identity, detailing the archetypes of the «pilgrim», the «vagabond», the «tourist», and the «player». It also explores the fundamental differences in theory between modernity and postmodernity, highlighting the criticisms Bauman has of liquid modernity, such as family crises, political impotence, chaos, inconsistency, rampant consumerism, and virtuality. Bauman's perspective on media appears predominantly pessimistic, viewing the virtual space primarily as an escape from reality.

Comparing the role of media in the concept of liquid modernity with seminal works in media theory (particularly the ideas of Marshall McLuhan and Friedrich Kittler) underscores the need to integrate media studies into Bauman's philosophy for a more profound understanding of identity construction principles in modernity. Analyzing McLuhan's approach to defining and analyzing media reveals that comprehending the societal and cultural changes brought about by emerging new media, which themselves convey messages, is crucial for understanding identity construction methods. McLuhan posits that the dominant culture type is shaped by the primary media of the era, suggesting that while printing led to a shift from audio-tactile to visual culture, the 20th century saw a resurgence of audio-tactile culture with the rise of new media.

To further explore media's role as a tool for manipulating reality, as emphasized by Bauman, we can turn to Susan Sontag's work. In her essay collection «Regarding the Pain of Others», Sontag analyzes the portrayal of violence in the media.

RADIO ART REPRESENTATION ROLEOF THE XX CENTURY IN UKRAINIAN CULTURE

2024-06-03T15:28:44+00:00

The article is devoted to the philosophical and cultural analysis of Radio Art role in the development of the XXth century in Ukrainian culture. The problems of the article are due to the insufficient scientific attention to the study of radio as a cultural phenomenon, its functions and the influence of the formation and popularization of modern culture due to the rapid displacement of television and audiovisual media in the XXth century. The first radio station on the territory of the Soviet Ukraine appeared in Kharkiv, which contributed to the spread of radio broadcasting in other cities and the development of Radio Art genres. However, despite of the comprehensive study of the social, cultural, and political role of radio by Western scientists, the development of Radio Studies abroad and the availability of history works of radio broadcasting in Ukraine, Philosophical and Cultural Studies the radio and Radio Art remain limited in Ukraine, which is the relevance of the research. The purpose of the study is to determine the role of Radio Art as a means of shaping the culture of the Soviet Ukraine in the XXth century, to determine the functions of Radio Art, which, through the popularization of various artistic genres, formed the cultural identity and national consciousness of the society. The scientific novelty of the study consists of the attempt in a historical-philosophical analysis of the cultural specificity and social role of Radio Art that developed on the territory of the Soviet Ukraine in the XXth century. In the Western Europe, in addition to the informational, campaigning, popularizing functions, radio performed the consolidation function, in particular, it contributed to the construction and consolidation of the marginal cultural communities’ identity, the cultural adaptation of refugees, the visibility of gender and national minorities. Soviet radio exerted powerful ideological influence on people's consciousness, but radio plays, radio dramas, performances of Ukrainian writers in the "in front of the microphone" genre not only contributed to cultural enlightenment and the spread of the Western European drama, but also actively shaped the national consciousness of the Soviet Ukraine. Radio plays, radio dramas, journalistic radio essays were created as highly artistic works that organically combined literary and theatrical artistic means. It was determined that Radio Art represents an open space for experiments due to the flexibility of its main tools – voice and sound, with the help of which it is possible to embody any images of actors, inconsistency and discontinuity of events, due to which Radio Art has unlimited potential to develop associative thinking in listeners. The article examines that Radio Art, created on the basis of the Ukrainian writers works and playwrights strongly contributed to the formation of the national informational and cultural space of the Soviet Ukraine that allowed Ukrainian radio to expanded national radio broadcasting after Ukraine gained independence.

CONCEPT OF CONSCIENCE WITHINETHICS

2024-06-03T15:28:48+00:00

In the article, a study was conducted to establish the connections of conscience with other ethical categories and to analyze the main approaches to the interpretation of the concept of conscience within the framework of ethics. The results of the study make it possible to make sure that all the antinomies listed in the article are reflected in attempts to define conscience as a moral category. But ethics does not teach conscience, but can only explain its role. Conscience is an organ of moral intuition.

Conscience is one of the relevant topics of human life, moral reflection that allows you to feel the falsity in your behavior, understanding the malignity of an act.

The article proves that, on the one hand, conscience is an undeniably existing moral phenomenon, on the other hand, it must be rationalized, since we are talking about it within the framework of ethics. Conscience, as a synthesis of external and internal, prompts a decision only in a single situation. It is not universal. There can be no moral situations in which the decision is made by the deductive method. All responsible decisions are made relying only on one's conscience. Life is the art of interacting with your conscience.

The article draws attention to the interpretations of the substantial approach, which take the grounds of conscience to the border of individual moral consciousness and to the border of subjectivity, while in the case of the individualistic approach, conscience is perceived only as a phenomenon of autonomy.