Contemporary city is a digital city. It is real and the techniques of its living are no poorer than the techniques of developing pre-digital cities. The city of the digital age does not dissolve into virtuality but, on the contrary, acquires new levels and dimensions. It is expanding, as is the range of the models managing it, which are formed on the basis of new technologies. The city is turning into a complex mechanism that produces and processes data flows. Architecture, urban management, and practices of citizens are increasingly basing on digital technologies. In the article, the authors set the context of the thematic issue through the introduction of two registers of visuality of contemporary city: a visible city that changes under the influence of the digital, and an invisible city created by algorithms.
{"title":"Towards Visual Ecology of Digital City","authors":"D. Kolesnikova, A. Latypova","doi":"10.46539/gmd.v4i3.310","DOIUrl":"https://doi.org/10.46539/gmd.v4i3.310","url":null,"abstract":"Contemporary city is a digital city. It is real and the techniques of its living are no poorer than the techniques of developing pre-digital cities. The city of the digital age does not dissolve into virtuality but, on the contrary, acquires new levels and dimensions. It is expanding, as is the range of the models managing it, which are formed on the basis of new technologies. The city is turning into a complex mechanism that produces and processes data flows. Architecture, urban management, and practices of citizens are increasingly basing on digital technologies. In the article, the authors set the context of the thematic issue through the introduction of two registers of visuality of contemporary city: a visible city that changes under the influence of the digital, and an invisible city created by algorithms.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129680955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Khrapov, L. Baeva, A. Grigorev, Dmitriy.A. Bibarsov
The article concerns the systemic problem of students’ social interactions in the context of digitalization of education and usage of virtual gamification technologies in pedagogical process. The authors conducted an interdisciplinary analysis of influence of the phenomena and conditions of virtual gamification on the “vertical” and “horizontal” processes of students’ social interactions, which determine constructive or destructive vectors of their socialization and professionalization in a digital society. The authors concluded that professional use of gamification pedagogical technologies can significantly reduce the social risks of digitalization of education and increase the level of safety of communicative and educational environment.
{"title":"Virtual Gamification and Problems of Students’ Social Interaction","authors":"S. Khrapov, L. Baeva, A. Grigorev, Dmitriy.A. Bibarsov","doi":"10.46539/gmd.v4i3.323","DOIUrl":"https://doi.org/10.46539/gmd.v4i3.323","url":null,"abstract":"The article concerns the systemic problem of students’ social interactions in the context of digitalization of education and usage of virtual gamification technologies in pedagogical process. The authors conducted an interdisciplinary analysis of influence of the phenomena and conditions of virtual gamification on the “vertical” and “horizontal” processes of students’ social interactions, which determine constructive or destructive vectors of their socialization and professionalization in a digital society. The authors concluded that professional use of gamification pedagogical technologies can significantly reduce the social risks of digitalization of education and increase the level of safety of communicative and educational environment.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124452865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ivan E. Safonov, Ekaterina V Shapiro, E. Lukina, Sofia A. Shchepkina
In contemporary society there are two contradictory points of view concerning graffiti: it is vandalism; it is art. In the cities graffiti is treated ambiguously: negatively, quietly or with interest and approval. The reasons for this may be both in citizens’ tastes and in the characteristics of the graffiti itself. Why do citizens consider some graffiti acceptable and some not? This work deals with the research of the legitimacy of the graffiti in the historical center of Saint-Petersburg. The purpose of the research is to reveal the foundations of the legitimacy of illegal graffiti in the historical center. The empirical basis consists of half-structured interviews analyzed with the thematic coding. The results show that a positive or negative reaction on the illegal graffiti appears during the discussion on the representational qualities, surface and content of the graffiti. The legitimate graffiti in the historical center of Saint-Petersburg has a connection with the history of the city and famous people, and it is also considered as a creative asset that transforms dilapidated surfaces. The results of the research may be used for the resolution of the conflicts between the citizens, graffiti creators and government officials providing the basis for a dialog on the common usage of the urban space. This work is also intended for the researchers of urban space, cultural city landscape and in sociology of art.
{"title":"Graffiti for the City or the City for Graffiti? Legitimacy of Graffiti in the Historical Center of Saint-Petersburg","authors":"Ivan E. Safonov, Ekaterina V Shapiro, E. Lukina, Sofia A. Shchepkina","doi":"10.46539/gmd.v4i3.315","DOIUrl":"https://doi.org/10.46539/gmd.v4i3.315","url":null,"abstract":"In contemporary society there are two contradictory points of view concerning graffiti: it is vandalism; it is art. In the cities graffiti is treated ambiguously: negatively, quietly or with interest and approval. The reasons for this may be both in citizens’ tastes and in the characteristics of the graffiti itself. Why do citizens consider some graffiti acceptable and some not? This work deals with the research of the legitimacy of the graffiti in the historical center of Saint-Petersburg. The purpose of the research is to reveal the foundations of the legitimacy of illegal graffiti in the historical center. \u0000The empirical basis consists of half-structured interviews analyzed with the thematic coding. The results show that a positive or negative reaction on the illegal graffiti appears during the discussion on the representational qualities, surface and content of the graffiti. The legitimate graffiti in the historical center of Saint-Petersburg has a connection with the history of the city and famous people, and it is also considered as a creative asset that transforms dilapidated surfaces. The results of the research may be used for the resolution of the conflicts between the citizens, graffiti creators and government officials providing the basis for a dialog on the common usage of the urban space. This work is also intended for the researchers of urban space, cultural city landscape and in sociology of art.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116010314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article offers reflections on Rosi Braidotti’s book “Posthuman”, which was published in 2021 by the Gaidar Institute Publishing House (translator Diana Khamis). Rosi Braidotti is a contemporary philosopher and feminist theorist, originally from Italy, currently teaching at the Utrecht University (Netherlands). Despite her connection with significant international organizations and associations (including UNESCO, Conseil National de la Recherche Scientifique, France, European Consortium for Humanities Institutes and Centres, EEC) and the role that her research plays in contemporary social and humanitarian discourse, her name is not widely known to the Russian-speaking reader in comparison to other authors of feminist trend, such as Judith Butler or Donna Haraway. Rosi Braidotti’s interest is directed towards the reflections on the subjectivity of a contemporary person. Based on critical theory, the project of nomadology, feminist studies, and using her own anti-humanistic optics, she affirms the idea of a posthuman who has a developing identity, overcomes anthropocentric limits in its essence, and is open to assemblies with living matter and the world of technology. In this review, I focus on the main structural elements of the book, its key ideas; I offer my interpretation of some plots of the text; I dwell on the discussion points of the work. I come to the conclusion that the concept of the posthuman and the posthumanistic method allow us to open new horizons for the current research practices of man and society.
{"title":"Review of the Book by Rosi Braidotti “Posthuman”","authors":"R. Penner","doi":"10.46539/gmd.v4i2.268","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.268","url":null,"abstract":"The article offers reflections on Rosi Braidotti’s book “Posthuman”, which was published in 2021 by the Gaidar Institute Publishing House (translator Diana Khamis). Rosi Braidotti is a contemporary philosopher and feminist theorist, originally from Italy, currently teaching at the Utrecht University (Netherlands). Despite her connection with significant international organizations and associations (including UNESCO, Conseil National de la Recherche Scientifique, France, European Consortium for Humanities Institutes and Centres, EEC) and the role that her research plays in contemporary social and humanitarian discourse, her name is not widely known to the Russian-speaking reader in comparison to other authors of feminist trend, such as Judith Butler or Donna Haraway. Rosi Braidotti’s interest is directed towards the reflections on the subjectivity of a contemporary person. Based on critical theory, the project of nomadology, feminist studies, and using her own anti-humanistic optics, she affirms the idea of a posthuman who has a developing identity, overcomes anthropocentric limits in its essence, and is open to assemblies with living matter and the world of technology. In this review, I focus on the main structural elements of the book, its key ideas; I offer my interpretation of some plots of the text; I dwell on the discussion points of the work. I come to the conclusion that the concept of the posthuman and the posthumanistic method allow us to open new horizons for the current research practices of man and society.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121548446","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Love. Emotional Capitalism – Craft Economy?","authors":"N. Afanasov","doi":"10.46539/gmd.v4i2.247","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.247","url":null,"abstract":"Book review: Aronson, P. (2021). Love: D.I.Y. How Did We Become Managers of Our Feelings. Individuum. (In Russian).","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126275355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The study aims to reveal the main characteristics of the historical memory and, more broadly, the attitude of the young digital generation of the Caspian region to the past, present and future. The study is based on the in-depth interviews conducted in autumn and winter 2019-2020, that involved 20 students of Astrakhan State University. The Astrakhan region with its ethno-confessional and cultural peculiarities represents quite vividly the Russian Caspian region where three world religions and more than one hundred and seventy ethnic groups are presented. The results of the study showed that the Caspian youth prefers to live in the moment, yet it does not know well the events of contemporary time. It has better knowledge of the past, and very vague ideas about the future. The Caspian youth notes a significant impact of the regional specific character on its collective ideas. In general, the interviewees showed quite a high level of tolerance towards the youth of the other Caspian countries, though not everyone considers them to be “their kin”. The range of the characteristics includes both “Ours (Own)” and “Other”, “Different”, “Alien”. The respondents consider the language barrier to be the main obstacle for intercultural communication and the development of the mutual collective memory.
{"title":"Ideas about the Past, Present, and Future of the Digital Generation of the Caspian Region as an Important Part of Collective Memory (on the example of the Astrakhan Region)","authors":"A. Romanova, Maria Fedorova","doi":"10.46539/gmd.v4i2.282","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.282","url":null,"abstract":"The study aims to reveal the main characteristics of the historical memory and, more broadly, the attitude of the young digital generation of the Caspian region to the past, present and future. The study is based on the in-depth interviews conducted in autumn and winter 2019-2020, that involved 20 students of Astrakhan State University. The Astrakhan region with its ethno-confessional and cultural peculiarities represents quite vividly the Russian Caspian region where three world religions and more than one hundred and seventy ethnic groups are presented. The results of the study showed that the Caspian youth prefers to live in the moment, yet it does not know well the events of contemporary time. It has better knowledge of the past, and very vague ideas about the future. The Caspian youth notes a significant impact of the regional specific character on its collective ideas. In general, the interviewees showed quite a high level of tolerance towards the youth of the other Caspian countries, though not everyone considers them to be “their kin”. The range of the characteristics includes both “Ours (Own)” and “Other”, “Different”, “Alien”. The respondents consider the language barrier to be the main obstacle for intercultural communication and the development of the mutual collective memory.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130829996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article focuses on the process of deploying a public memorial narrative and its impact on cultural memory and the processes of cultural exclusion. The author proposes to look at several aspects using new methodological solutions: how the public memorial narrative is formed; why the narrative does not fall apart if different people participate in its deployment; how the memorial narrative preserves excluded experience; how the research of cultural memory benefits from video game study approach. The main goal is to find out how the excluded cultural experience is preserved, if the main task of deploying a public narrative is to displace the “superfluous”. Several analytical concepts are proposed: the key point, the interpretive bundle, the zero point, the descriptive bolvanka, the procedural rhetoric of cultural memory, the chronotope of the public memorial narrative and others. Through these notions it is possible to explain some processes of narrative pragmatics related to emotions, behavior, presumptions and stereotypes. The article is intended for a wide range of readers interested in public history, the history of emotions, narratology, the theory of cultural exclusion and frontier zones.
{"title":"Memorial Narrative and Procedural Aspects of Cultural Exclusion","authors":"S. Troitskiy","doi":"10.46539/gmd.v4i2.279","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.279","url":null,"abstract":"The article focuses on the process of deploying a public memorial narrative and its impact on cultural memory and the processes of cultural exclusion. The author proposes to look at several aspects using new methodological solutions: how the public memorial narrative is formed; why the narrative does not fall apart if different people participate in its deployment; how the memorial narrative preserves excluded experience; how the research of cultural memory benefits from video game study approach. The main goal is to find out how the excluded cultural experience is preserved, if the main task of deploying a public narrative is to displace the “superfluous”. Several analytical concepts are proposed: the key point, the interpretive bundle, the zero point, the descriptive bolvanka, the procedural rhetoric of cultural memory, the chronotope of the public memorial narrative and others. Through these notions it is possible to explain some processes of narrative pragmatics related to emotions, behavior, presumptions and stereotypes. The article is intended for a wide range of readers interested in public history, the history of emotions, narratology, the theory of cultural exclusion and frontier zones.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125579666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is devoted to the problem of the place of “descendants of the executioners” in the space of memory of the era of political repression. The article discusses questions about the attitude of the “moral community” that has developed around the victims of repression and their descendants towards the “descendants of the executioners” – on the example of the analysis of the case with D. Karagodin’s project “The Investigation of KARAGODIN”. The study shows that the specified moral community, using the mechanism of dehumanization in relation to the “executioners” (as a mechanism for constructing the image of the enemy), tends to transfer these characteristics to their descendants – despite the fact that, for the most part, the “descendants of the executioners” are “honest descendants”, since they practically do not know / did not know anything about the professional activity and specific actions of their ancestors. Differences were also revealed, causing tension between the acceptable and unacceptable reactions prescribed by the moral community to kinship with the “executioners” and the variety of real experiences of the “descendants of the executioners”. The article analyzes the semantic aspects of the concept of “descendants of executioners”. The author of the article shows that these semantic aspects are often built on different grounds and can intersect, giving rise to internal conflicts including those of ethical nature. The article concludes that the “descendants of the executioners” (“honest descendants”) today are actually not represented in the space of memory of the era of political repression. In the context of increasing government influence to the memory of the era of political repression, and, as a result, of increased tension between the state and the moral community, representatives of this community are not always ready to perceive the voices of the “descendants of the executioners”, who are often associated with modern representatives of the state, alongside with the voices of “descendants of the victims”. All these circumstances significantly complicate the formation of “symmetrical memory” as a condition for successful processing of the difficult past.
{"title":"“Descendants of the Executioners” in the Space of Memory about the Era of Political Repressions (on the example of the Project “The Investigation of Karagodin”)","authors":"Yulia V. Zevako","doi":"10.46539/gmd.v4i2.265","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.265","url":null,"abstract":"This article is devoted to the problem of the place of “descendants of the executioners” in the space of memory of the era of political repression. The article discusses questions about the attitude of the “moral community” that has developed around the victims of repression and their descendants towards the “descendants of the executioners” – on the example of the analysis of the case with D. Karagodin’s project “The Investigation of KARAGODIN”. The study shows that the specified moral community, using the mechanism of dehumanization in relation to the “executioners” (as a mechanism for constructing the image of the enemy), tends to transfer these characteristics to their descendants – despite the fact that, for the most part, the “descendants of the executioners” are “honest descendants”, since they practically do not know / did not know anything about the professional activity and specific actions of their ancestors. Differences were also revealed, causing tension between the acceptable and unacceptable reactions prescribed by the moral community to kinship with the “executioners” and the variety of real experiences of the “descendants of the executioners”. The article analyzes the semantic aspects of the concept of “descendants of executioners”. The author of the article shows that these semantic aspects are often built on different grounds and can intersect, giving rise to internal conflicts including those of ethical nature. The article concludes that the “descendants of the executioners” (“honest descendants”) today are actually not represented in the space of memory of the era of political repression. In the context of increasing government influence to the memory of the era of political repression, and, as a result, of increased tension between the state and the moral community, representatives of this community are not always ready to perceive the voices of the “descendants of the executioners”, who are often associated with modern representatives of the state, alongside with the voices of “descendants of the victims”. All these circumstances significantly complicate the formation of “symmetrical memory” as a condition for successful processing of the difficult past.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128756722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
For many years, Israeli culture recoiled from dealing with the Holocaust from a humorous perspective. The perception was that a humorous approach to the Holocaust might threaten the sanctity of its memory, or evoke feelings of disrespect towards the subject, and hurt the survivors’ feelings. Official agents of Holocaust memory continue to use this approach, but from the 1990s a new unofficial path of memory began taking shape in tandem with it. It is an alternative and subversive path that seeks to remember – but differently. Texts that combine the Holocaust with parody of various characters related to Nazism and Israeli Holocaust commemoration are a major aspect of this new memory. This article analyzes examples of Holocaust parody in Hebrew. It shows that Holocaust parody in Israel is directed at the average Jewish-Israelis due to their intense Holocaust awareness; public figures, politicians and collective memory agents who manipulate Holocaust commemoration and Hitler’s image. The texts are analyzed through theories of collective trauma, humor and parody. Contrary to perceptions that Holocaust humor and parody disrespects the Holocaust and its survivors, this article maintains that Holocaust parody in Israel proves the great extent to which the Holocaust is a living part of the identity of the young generation and is also used as a tool to protest against the distortions in Holocaust commemoration.
{"title":"Holocaust Parody in Israeli Popular Culture","authors":"Liat Steir-Livny, Maria V. Semykolennykh","doi":"10.46539/gmd.v4i2.280","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.280","url":null,"abstract":"For many years, Israeli culture recoiled from dealing with the Holocaust from a humorous perspective. The perception was that a humorous approach to the Holocaust might threaten the sanctity of its memory, or evoke feelings of disrespect towards the subject, and hurt the survivors’ feelings. Official agents of Holocaust memory continue to use this approach, but from the 1990s a new unofficial path of memory began taking shape in tandem with it. It is an alternative and subversive path that seeks to remember – but differently. Texts that combine the Holocaust with parody of various characters related to Nazism and Israeli Holocaust commemoration are a major aspect of this new memory. This article analyzes examples of Holocaust parody in Hebrew. It shows that Holocaust parody in Israel is directed at the average Jewish-Israelis due to their intense Holocaust awareness; public figures, politicians and collective memory agents who manipulate Holocaust commemoration and Hitler’s image. The texts are analyzed through theories of collective trauma, humor and parody. Contrary to perceptions that Holocaust humor and parody disrespects the Holocaust and its survivors, this article maintains that Holocaust parody in Israel proves the great extent to which the Holocaust is a living part of the identity of the young generation and is also used as a tool to protest against the distortions in Holocaust commemoration.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133821007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with the methodological search for overcoming dualism in the understanding of cultural memory as a basic category of memory studies. This category implies a gap between the memory of living contemporaries and the "dead" memory of institutional narratives. However, the rebellion of living memory against repressive censored texts is a feature of mass industrial societies. The model of confrontation between generational memory and trans-generational memory, laid down by the works of M. Halbwachs and J. Assmann, loses its heuristic in the conditions of the dominance of digital media. The author suggests using the social ontology of M. Ferraris, known as the “theory of documentality”, to overcome this gap. The interpretation of sociogenesis as a result of the formation of social objects based on the recording procedure allows us to rethink the social function of the media. Cultural memory in the theory of Ferraris is equivalent to an array of documentary, differentiated by the ability to generate and maintain social objects into strong and weak. This approach turns out to be productive where the “great gaps” of communication have been overcome, where the social communication system provides wide access to all its types. Social media provides new memory formats by incorporating people and non-human algorithms into its networks. Creation of social memory objects no longer requires specialized institutions; “old”, pre-digital narratives of historical memory are hacked by users in media hacking processes, allowing them to appropriate, edit and inhabit the history of society in personal digital memory strategies. At the same time, the digital nature of new social objects ensures their involvement with each other through social network algorithms, regardless of their own ethical, aesthetic or axiological status.
{"title":"Maurizio Ferraris' Theory of Documentality and Social Media: Media Hacking as Hacking of Cultural Memory","authors":"S. Tikhonova","doi":"10.46539/gmd.v4i2.262","DOIUrl":"https://doi.org/10.46539/gmd.v4i2.262","url":null,"abstract":"The article deals with the methodological search for overcoming dualism in the understanding of cultural memory as a basic category of memory studies. This category implies a gap between the memory of living contemporaries and the \"dead\" memory of institutional narratives. However, the rebellion of living memory against repressive censored texts is a feature of mass industrial societies. The model of confrontation between generational memory and trans-generational memory, laid down by the works of M. Halbwachs and J. Assmann, loses its heuristic in the conditions of the dominance of digital media. The author suggests using the social ontology of M. Ferraris, known as the “theory of documentality”, to overcome this gap. The interpretation of sociogenesis as a result of the formation of social objects based on the recording procedure allows us to rethink the social function of the media. Cultural memory in the theory of Ferraris is equivalent to an array of documentary, differentiated by the ability to generate and maintain social objects into strong and weak. This approach turns out to be productive where the “great gaps” of communication have been overcome, where the social communication system provides wide access to all its types. Social media provides new memory formats by incorporating people and non-human algorithms into its networks. Creation of social memory objects no longer requires specialized institutions; “old”, pre-digital narratives of historical memory are hacked by users in media hacking processes, allowing them to appropriate, edit and inhabit the history of society in personal digital memory strategies. At the same time, the digital nature of new social objects ensures their involvement with each other through social network algorithms, regardless of their own ethical, aesthetic or axiological status.","PeriodicalId":393706,"journal":{"name":"Galactica Media: Journal of Media Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134423458","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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