MEDIA-PHILOSOPHICAL ENVIRONMENT

Abstract

The article deals with the issue of manipulation of consciousness and resistance to this process within the framework of mass media development, thus giving such phenomenon the scale, sophistication and sharpness in modern conditions. The struggle for non-standard vision, lack of cliches is possible through artistic means as well, which is demonstrated by the art of the twentieth and early twenty-first centuries. The development of critical thinking at all times is the task of philosophy and various philosophical fields of knowledge. This orientation largely contributes to the formation of personal unconventionality, being especially in demand under the modern conditions. The material offered to the attention of the reader assists in improving the personal position of self-consciousness and the position of self-improvement. The crisis state of the philosophical anthropological research that began in the twentieth century requires overcoming the annihilation of interest in anthropological issues, and requires the updating of the interpretation of the human essence. Excessive politicization, ideological nature of the image of man has led to schematization, loss of depth of philosophical devotion to the truly human. This deprived the philosophy of a multifaceted approach to it and search for new positions, led to the absolutization of purely structuralist and poststructuralist constructs. In the 21st century, consideration of man prescribes different understanding of his tasks, essence, purpose in the changed environment in the system of globalization that is possible only in the overcoming of imperious-ideological dictatorship on the part of the state in relation to philosophical and anthropological research. In many respects, the postmodernist landmarks and the absolute power of mass media worsen this situation. They comprehensively contribute to the strengthening of the state-ideological dictatorship, disorient the society, deprive it of the opportunity to comprehend the changes, overcome total subordination to its directives, to form criticality of thinking, to express transversality (protest). Pieces of modern art develop transversal landmarks in many ways. Photos, installations, picturesque canvases, movies of various directors and scriptwriters, created in the late 20th century and the early 21st century represent a vast palette of their protesting views, positions, principles and attitudes. The late 20th century and the early 21 centuries are featured by the slow transition of civilization from disciplinary societies to the general control society which reveals the creation of new strategies of power: greater flexibility in overcoming the autonomy of mechanisms, the continuity of active action, invisible force forms of the regulation of social processes, increase of adaptability of political regimes. In this period, opposition to the antagonistic system can not be rectilinear, it is necessary to «transverse» it, that is, transversality is required, which is, concretized through the violation of language systems, a combination of the non-combinable, bringing video sequences to absurdity, chaotic combinatorics of the situation. It helps to overcome the dictates of aggressive ideology. Deformation of the image of state structures from within, distortion of artistic images, elimination of outdated views and illusory effects for the viewer and their reader are the real probabilities of transversal change in thinking, positions, development of their own political views. All this highlights the philosophical basis of transversality, the role of critical analysis of reality, the development of science to overcome social discomfort, actualization in the human evolution of non-standardness under the modern conditions, the vision of future prospects.