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

AUGMENTED REALITY ART IN CONTEMPORARY VISUAL CULTURE

2025-04-02T15:23:55+00:00

The article considers the artistic strategies of augmented reality (AR) art in the context of the «spatial turn». It is proposed to consider augmented reality art separately from the theories of culture that have developed around the phenomenon of virtual reality. The thesis is substantiated that the art of virtual reality was reflected within the framework of postmodernist theories that proceeded from the understanding of culture through the theory of the simulacrum. Instead, the art of augmented reality must be understood through the latest theories of culture that rely on post-discursive factors of culture and the material presence of cultural objects. It is proposed to consider the art of augmented reality through the phenomenon of spatial presence, which is the main feature of AR technologies – localization and binding of AR projects to specific spatial positions. AR-art is analyzed in the context of the spatial turn in modern humanitarian and social studies, which bring the problem of space to the forefront.

An appeal to the texts of AR-artists, creative manifestos and program articles allows us to conclude that AR-artists understand their work through the categories of a kind of return of art to reality and oppose the postmodernist understanding of art as a pure simulation. For AR-art, the combination of digital image and material presence in space is important. The article studies AR-projects of artists T. Thiel, G. A. Rhodes, J. K. Freeman, V. Pappenheimer and highlights the main artistic strategies inherent in AR-art. In particular, three main strategies are distinguished: invasion - the unexpected appearance of digital objects in public space, immersion - immersion in an augmented urban space, representation - a critical understanding of space in the context of historical, ecological or political narratives. It is determined that AR-art carries an emancipatory potential and can embody countercultural strategies of opposition to official discourses of power, which inscribe space into narratives of legitimization of existing power relations. AR-art embodies the latest strategies of metamodernist cultural practices of the 21st century and seeks new ways to understand man, society and the world.

A DOCUMENTARY FILM IN REALM OF NATIONAL IDENTITY (UKRAINIAN AND FOREIGN EXPERIENCE OF COMPREHENSION)

2025-04-02T15:34:02+00:00

The article examines the main approaches of Ukrainian and foreign researchers to the analysis of such a complex cinematic practice as the documentary film. In particular, the study focuses on key discussions about the genres of documentary films, their ability to construct "historical memory" as one of the key components of national identity constructing, and the notion of "truth" in relation to the analysis of the ability of a documentary to articulate "truth". The article explores the function of Ukrainian documentary films in the process of deconstructing Soviet myths of Ukrainian identity, and more generally, the ability of documentary films to serve as a tool in the construction of Ukraine's national identity. The research applays a range of analytical methods, including a comparative analysis, a thematic analysis, and a case study approach, to identify the key characteristics of the documentary film in the context of cinematic interpretation of reality. The results of research demonstrate that a documentary film does not merely reflect reality, but rather serves as an effective interpretive tool. The results of the research can be used in the analysis of the structure of a documentary film and its capacity to construct national identity. An analysis of national and foreign theories on documentary filmmaking reveals significant differences in the approaches to the subject of a documentary film. Ukrainian scholars focuses on the classification of types and genres of a documentary film. Foreign researches is mainly interested in the analyses of the dialogue between a documentary film and society, its abilities to respond to current social problems. A similar divergence is observed in approaches to the issue of identity. Western theorists certainly discuss these problems, but primarily within the framework of philosophy and cultural sociology. For Ukrainian researchers, these questions remain crucial, and consequently, an analyses of a documentary film is often focused on its capacities to explore and represent the topics of identity.

PHILOSOPHY OF DIGITAL ART: SYNERGY OF ART AND TECHNOLOGY

2025-04-02T15:24:28+00:00

The goal is to study the philosophical and anthropological dimension of computerization and digitalization of humanity and their influence on modern art. Research methods — historical and philosophical, philosophy of art, analytical method, synergetics. Scientific novelty. An examination of the evolution of digital art growing out of technology - from digital photography and computer graphics to the use of artificial intelligence in the creation of new artistic images. The former reproducibility of the technical image is complemented by a new understanding of creativity and innovation in digital art, where the problem of authorship and co-authorship is exacerbated as much as possible. A new synergy of art and technology is proposed, which requires philosophical reflection. Conclusions. The revolution of convergence of technologies (Converging Technology) or the revolution of NBIC (NBIC) as a combination of nano-, biotechnologies and cyber-information technologies is a new stage of scientific and technical progress, it has a strong influence on modern culture and art. The synergy of art and technology is revealed in the fact that even a new way of technological representation of the image provides a new unseen aesthetic, the emergent nature of this image is simulative and repetitive, and at the same time innovative. Thus, art created by artificial intelligence can create new unique combinations, in fact it can vary endlessly. Art allows us to articulate and present unexplored ideas, concepts, and phenomena, contributing to debate, changes in aesthetic ideals and social progress. The ability of digital art to transform physical or bodily modes of perception is important, providing new anthropological opportunities for artistic expression and public understanding. In addition, contemporary art has an important aesthetic and ethical impact on sociocultural transformation in the context of contemporary social changes.

CONCEPTUAL MATRIX OF ORIGEN'S ETERNAL UNIVERSE CONCEPT: PHILOSOPHICAL EXEGESIS

2025-04-02T15:24:49+00:00

The This article engages in a critical re-examination of foundational concepts within the spiritual culture of humanity, emphasizing their axiological implications, epistemological frameworks, and relevance for contemporary and future generations. The universality of these concepts is illustrated through an analysis of the theological discourses of second-century figures such as Origen and Lactantius. Central to this discourse is the notion of the eternal universe, articulated through a cyclical paradigm encompassing ideas such as pre- existence, the cyclical nature of souls and the cosmos, eternal life, and evolution. Origen, recognized as a seminal figure in Christian philosophy, posits a model of an eternal universe governed by divine principles and laws. These principles are manifested in the concepts of soul transmigration, pre-existence, and the cyclical reincarnation of both micro (individual human) and macro (divine or cosmic) entities. The texts of Origen further elucidate that the idea of eternal life and transmigration serves as a pivotal framework for reinterpreting the semantic depth of Scripture. This framework is posited as essential for the evolution of souls, facilitating their return to the divine source, thereby representing a fundamental aspect of theological consciousness.

The examination and elucidation of the core concepts of resurrection, as articulated by Origen and Lactantius, facilitated an exploration of the existential modes of significant themes within the Christian framework. This analysis enabled us to delineate a universal meta-territory of their meanings, tracing the continuity of religious thought from ancient Egyptian traditions and classical philosophy through to the theological developments of the 2nd century AD. We observed a flow of analogous significances, which, over time, manifest in varied linguistic expressions, terminological frameworks, and conceptualizations.

The interpretations presented enhance the comprehension of the foundational concepts of spiritual culture within the context of Western European civilization. Further reinterpretation offers compelling arguments for transcending conflicts at intercultural, interreligious, and interfaith levels. This approach fosters a framework for intellectual dialogue and the synergy of religious, philosophical, and scientific discourses, ultimately promoting tolerance and a comprehensive worldview. In the long term, this focus aims to facilitate the spiritual cohesion of diverse human communities.

THE HERMENEUTICAL ASPECT OF RHETORIC

2025-04-02T15:25:10+00:00

The article provides a comprehensive theoretical and methodological analysis of the evolution and transformation of rhetoric’s status in contemporary sociocultural discourse. The authors focus on rethinking the traditional understanding of rhetoric as purely the art of oratory and conceptualizing it as a multidimensional phenomenon that plays a fundamental role in personality formation and effective communicative interaction in modern society. The research is based on a historical-philosophical analysis of the etymology and evolution of the concept of "rhetoric" through the lens of the opposition of three key ancient approaches: the Sophistic, the Socratic-Platonic, and the Aristotelian. This methodological triangulation allows for the identification of the deep ontological, hermeneutic, and epistemological foundations of rhetoric as a sociocultural phenomenon. Particular attention in the study is given to the issue of conceptualizing the modern status of rhetoric in the context of its growing commercialization. The authors critically analyze traditional limitations regarding the application of rhetoric exclusively to literary language and justify the necessity of expanding its functional scope to other forms of natural language and communication. A fundamentally important aspect of the study is the exploration of the hermeneutic dimension of rhetoric, which extends far beyond the classical dichotomy of the real and the imaginary. The authors demonstrate how rhetorical practices participate in constructing social reality through the formation of discursive structures and influence the production of knowledge and truth within the context of power relations. The study substantiates the thesis that modern rhetoric emerges as a complex sociocultural mechanism that not only ensures effective communication but also actively participates in the processes of social reality construction, the formation of worldviews, and the development of personal value orientations. This enables rhetoric to be considered an essential instrument of social engineering and cultural transformation. The research also highlights the significance of rhetoric in the development of critical thinking and communicative competence in the context of the modern information society. A special emphasis in the article is placed on the hermeneutic function of rhetoric, which lies in its ability to interpret and analyze texts, revealing their deep meaning and significance. The authors argue that hermeneutic rhetoric is not only a tool for understanding others' thoughts but also a means of self-knowledge and the formation of one's own worldview. It enables individuals to critically rethink cultural traditions, social norms, and ideological constructs, fostering the development of autonomous thinking and independent judgment. Hermeneutic rhetoric also plays a crucial role in intercultural communication, facilitating understanding between representatives of different cultures and helping to overcome cultural barriers. This study makes a significant contribution to understanding the contemporary status of rhetoric as a multidimensional sociocultural phenomenon that goes far beyond the traditional understanding of oratory and emerges as a fundamental mechanism for constructing social reality and shaping personality within the modern communicative space.

THE GENDER ASPECT OF THE HORROR IN SWISS CINEMA OF THE 1980S.

2025-04-02T15:25:39+00:00

The focus of this article is on the phenomenon of the horror, in particular the gender aspect in Swiss horror films of the early 1980s. Initially, it points to the important role of research on the phenomenon of the horror in philosophy and psychology (Aristotle, Sigmund Freud, Martin Heidegger, Georges Bataille, Noel Carroll), as well as the depiction of the horror in world literature (Mykola Gogol, Edgar Allan Poe, Howard Phillips Lovecraft, Stephen King) for visual art and human culture in general. Special attention is paid to the works on gender and horror in the publications of such outstanding thinkers as Simone de Beauvoir, Julia Kristeva, Judith Butler. The following are the latest works on gender and film studies in the global context, including publications by Barry Keith Grant, Adam Lowenstein, Catherine Shelton, Julian Sittel and others.

The main part of this article is devoted to Swiss cinema, in particular the gender aspect in Swiss horror films of the early 1980s. At the beginning, it provides a critical review of the main features of the development of cinema in Switzerland in general, as well as relevant studies on its history, in particular the works of Hermé Dumont, Martin Schlappner, Martin Schaub, Andrea Sailer, Thomas Schärer, and others. Next, the features of horror films in the history of Swiss cinema are briefly analyzed, in particular, the horror film “Strasek, der Vampir” (1982) is considered. However, the focus is on the Swiss horror film “Die schwarze Spinne / The Black Spider” (1983), which consists of conditional two parts, the action of which takes place in the present (early 1980s) and in the Middle Ages, respectively. Moreover, the second part of this film is based on the novel of the same name “Die schwarze Spinne / The Black Spider” (1842) by the famous Swiss writer Jeremias Gotthelf (1797–1854). As the analysis has shown, the authors of this film, the Swiss director Mark M. Rissi and the screenwriter Walther Kauer, as well as the musicians of the electro pop band “Yello” skillfully showed the manifestations of the phenomenon of the horror in objective reality and in historical and fantastic situations. Against this background, the film perfectly thematized both the problems of the Swiss youth subculture (drug addiction, gender violence, prostitution of schoolgirls) and socially important environmental issues (threat to the environment). In this context, an important role is played by the manifestations of the gender aspects of the horror, which in the film are demonstrated by the example of the wonderful performance of the main characters (Mesche, Schosy, Christine, etc.).

THE INHIBITORY PROCESS OF MEMORY AND ITS INFLUENCE ON THE PRESERVATION OF SOCIO-CULTURAL ELEMENTS

2025-04-02T15:25:58+00:00

The article examines the so-called inhibitory process of memory as a type of active forgetting in the context of its use to preserve selected socio-cultural elements. At the first stage, the physiology of memory and the process of forgetting were revealed. The work of the inhibitory process of memory is analyzed as an example of active forgetting and passive forgetting caused by automatic processes, for example due to brain aging.

Next, the importance of the subjective value of information, which increases its strength in the memory structure, is noted, as well as the reasons why some information may be more important than others. To analyze such structures as memory, neurophysiological studies of the brain, as well as psychological understanding of memory, are taken.

Finally, examples of how the dominant culture "covers" the subject's memory in various ways through the inhibitory process of memory are explored. The examples are based on such significant historical events as the signing of the Valuev circular or the Holodomor, where the enemy actively used methods of spreading culture.

At the very end, it is considered under which conditions the dominant culture is resisted. This happens in moments of high stress, when the identity of the subject is threatened by something, which activates its memory, which consists, first of all, of everyday life, caused by a long line of cause-and-effect relationships from traditions, rituals, daily communications, etc. This kind of memory, despite its low intensity, occupies most of the information "encrypted" in the memory, and in times of stress, the subject turns to this kind of memory, which opposes the dominant, artificially implanted one.