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УДК 74
ББК 85.12
DOI: 10.30628/1994-9529-2019-15.1-157-170

GITR Film & Television school
Moscow, Russia
ORCID: 0000-0002-6201-8498
e-mail: allyus1@gmail.com



Annotation. The article deals with the key aspects of visualization of the thinking activity in the past and the specific features of such activities at the present stage in the context of visual and digital rotation. Seen as particularly problematic is the representation of cognitive activity in the cinema. It is shown that the Logos embodied on the screen earlier had either hung on the cross, or sat frozen in Rodin’s position of a person resting, which contradicts the dynamic nature of the cinema, where the meaning is to move at the maximum speed, using the most modern means of transportation. As a first step to the image of thought itself, kung fu films are presented, in which thought coincides with the movements, and the movements are inseparable from thought, since the kung fu master shows not feelings, but only flights of thought, which are also movements of the body. In the second stage, the era of the «Matrix» has been put forward, where, according to S. Zizek, practically any theoretical concept has been able to recognize itself. This is shown as the embodiment of the mind in the World Wide Web, perfectly coinciding with nonlinear natural thinking. The ornamentation of self-contained thought is explored, which gives rise to a design without an inner meaning. The alienation of history and reason from the creative and the thinking process is revealed, which makes it possible to visualize the qualitative leap from the political economy of the goods to the «political economy of the sign», within the framework of which the commodity and sign structures mutually transform each other, making possible the joint circulation in quality the single entity—goods-images possessing «sign exchange value».
As a result of understanding the intensive development of design in the postmodern era of fundamental changes in meanings, meanings, values and worldviews and its role in modern media culture, it is asserted that design, similarly to economy as a whole, is ethically neutral, and the question of «form responsibility» is not removed. Involvement of the software field in various spheres of modern life, including design, makes it possible to correlate the terminological pair—upgrade and downgrade with the autochthonous Russian dichotomy of modernization—traditionalism, which creates a springboard for further philosophical cognition in the context of the logic of visual thinking.

Keywords: design, substance, reason, function, structure, media, sign, design, visuality