Андрій Волинець

Статя акцентує увагу на виявленні освітнього потенціалу використання настільних ігор у навчально-виховному процесі метою якого є формування громадянської свідомості  учня.
Фoрмувaння грoмaдянськoї пoзиції – прoцес не прoстий і тривaлий.  Пoчинaється він у тoму віці, кoли дитина пoчинaє фoрмувaтися як oсoбистість. Oскільки людинa – істoтa біoсoціaльнa, тo в неї, пoряд із фізіoлoгічними пoтребaми, є і сoціaльні, духoвні пoтреби, тoбтo пoтреби у спілкувaнні, пізнaнні нaвкoлишньoгo світу, культурнoму відтвoренні. Дитинa зaсвoює дoсвід бaтьків, сoціaльнoгo oтoчення в прoцесі спілкувaння, нaвчaння й вихoвaння, тoму фoрмувaння у неї oсoбистісних сoціaльнoпсихoлoгічних влaстивoстей, тoбтo мoрaльних якoстей, нахилів, вoльoвих якостей, здібностей, відбувається з тoгo мoменту, коли вoнa пoчинaє усвідoмлювaти себе членом родини, a пізніше – членом колективу, суспільствa.
В статі висвітлюється можливість перенесення настільних ігор у площину навчання та виховання громадянської свідомості, почуття відповідальності, як індивідуальної, так і перед колективом.
Розглядається роль настільних ігор як ефективного інтерактивного методу активізації навчальної діяльності, особистісного та пізнавального розвитку учнів, заснований на певному ігровому алгоритмі, що робить процес виховання  цікавим і навіть захоплюючим.

In the context of the Russian aggression, from the political and journalism landscape anti-Ukrainian propaganda also actively reaches literature, music, cinema, and other areas of culture. With a rapid digitalization it also enters such mass culture forms as videogames, which are aimed at misrepresentation of current events, discreditation of external and internal politics of our country, formation of a negative image of Ukraine among the international community, as well as among Ukrainians. It also aims at raising the level of tolerance to aggression among key players by sustaining the images from video games. Not only these games promote some specific messages, but they also create illusions of some active participation: they engage players in decision making, allow them to become virtual participants of battles, provide forums for communication and sharing thoughts about the conflict. They have potential to formulate positions of players and can influence their views using such methods unavailable even for Goebbels.
The research studies the propaganda motives in the video games which are based on the history of Ukrainian-Russian conflict. In the video games such propaganda methods have been identified as: multiple repetition of some certain idea, emotional language, demonization of the enemy, history falsification, speculations on the ideas of patriotism, labeling, cultivation of stereotypes. Along with this, the video games use the same narratives which are being promoted by anti-Ukrainian media and have double standards. As a source of propaganda, video game developers use three directions of persuasion based on the Russian-Ukrainian confrontation: with the help of words, images and operations (gameplay). In order to avoid the destructive propaganda impact of video games on the Ukrainian public, it is necessary to monitor their content: whether they do not distort the geopolitical position of Ukraine, whether they do not damage the image of our state. At the same time, at the state level it is necessary to encourage the creation of game products with inherent national values, as a counterpropaganda.

It is worth mentioning that computer videogames
as technological and cultural artifacts have a significant
impact on modern society. Videogames are focused
on using entertainment for training, education,
healthcare, or state policy, etc.
Based on the concept of learning by doing, serious
computer games have the potential to overcome
numerous limitations of traditional education. They
have more comprehensive and various approaches to
education, they can be interactive, foster cooperation,
support active education, impact cognitive and motivation
areas which were previously demonstrated by
some studies.
Keywords: videogames, education, procedural
rhetoric.

ВСТУП
Сучасний світ заснований на постійній дина-
міці суспільних відносин, невід’ємною складовою
частиною яких виступає освіта. Освітній процес
у сучасних умовах перманентних змін всіх сторін
суспільного життя демонструє проблемну ситу-
ацію стосовно адекватних відповідей на потреби
сьогодення. Важлива складова проблематики осу-
часнення форм і методів освіти стосується пи-
тань мотивації та включеності учнів в освітній
процес.
Значимість комп’ютерної гри полягає в тому,
що вона є вираженням сучасних художніх тен-
денцій, таких, як використання різних перспектив
і точок зору на подію, включення в твір випадко-
вих поточних вражень публіки, збільшення актив-
ності глядача художнього твору і, як результат,
збільшення його емоційної залученості, перемі-
щення акценту з результату творчості на процес.
Комп’ютерна гра відкриває нові форми активної і
творчої взаємодії глядача з мистецьким середови-
щем, вчиться використовувати інтерактивність
як виразний засіб.
В даний час кількість і різноманітність
комп’ютерних ігор настільки розрослася, що на-
став час систематизувати і структурувати це
складне і багатогранне художнє явище. Назрі-
ла необхідність підходу, до комп’ютерної гри, як
принципово нового явища - єдиної форми худож-
ньої віртуальної реальності. Зрозуміло, ми відда-
ємо собі звіт, що всебічне дослідження цієї про-
блеми вимагає участі фахівців самого різного кола
і самих різних спеціальностей.
Ключові слова:. відеоігри, освіта, процедурна
риторика.

Chaos has a unique role in the art of the 20th and early 21st century because of a general remarkable trend to view the world no longer as the ordered Cosmos,but rather as Chaosmos, or even chaos. In general, two main forms of expressing chaotic in art can be distinguished: «creative» Chaos as a burst of creative energy and «final» Chaos as a maximum of entropic tendencies.
For example, the Theatre of Cruelty in theatre art tends towards swiftness of powerful forces of eros and thanatos, which could be considered as a display of a welcoming chaos, whereas the Theatre of the Absurd is set to demonstration of
collapse of the world, society, mind and communication skills and according to its aesthetic conceptual philosophy distinctly tends towards entropy.
However, active, and even aggressive position of «chaotic art» is typical in both cases. Thus, the history of art development during the 20th and early 21st century demonstrates that reference to chaotic is a part of ideology according to which you can experience existence to its full and achieve complete perception of yourself and freedom of artistic production only letting the chaos in.
Keywords: Chaos, stochasticism, irrationalism, randomness, avantgarde.

Chaos is an ontological and aesthetic category in the works of Howard Phillips Lovecraft. This category serves as the basis of cosmocentrism in his works. Chaos category is one of the sources of his inspiration. It expresses views on the essence of human existence, psychology and ethics of characters in his works. This is expressed not only in anthropomorphic and cosmogonic artistic images, but also in the frankly anti-anthropocentric views of the author in which a person is only a doll in the boundless space of the Divine Theater of the Absurd. Meeting of heroes with death is just another metamorphosis on the path to constant change and madness.
Thіs article is devoted to the interpretation of the Chaos mythologem in relation to artistic images in H.P. Lovecraft’s works which as well as the Chaos mythologem remain scarcely explored in modern Ukrainian aesthetics. In the writer’s works, the meaning of the Chaos symbolism is closely linked to the natural and cosmic unidentified and mysterious elements that the author considered to be the beginning of everything.

From time to time, different thinkers tried to find common regularities of rhythmic changes of Apollonian and Dionysian tendencies in alternation of art styles. This work is far from complete, as a real historical process is more complicated than any scheme. It is clear, however, that transition periods in culture were enhancing the interest to the irrational part in the human soul, society and the world.
Probably the most determined «return of chaos» happened during the transition period at the end of 19th – beginning of 20th century. This process covered all of the 20th century and continues up to the present day.

Volynets A. A., PhD, senior lecturer in social sciences and their
teaching methods, Chernihiv Regional Institute of Postgraduate
Education named Ushinski (Ukraine, Chernigov), orientir777@mail.ru
Chaotic as an esthetic principle of computer art While treating computer art as a marginal cultural phenomenon without giving sufficient attention to its great potential, we lose the opportunity to look at a perspective of art development in general, since computer arts give new space for creation and blur the lines between the artist’s world and the observer’s reality, and sometimes destroy difference between reality, artwork and fiction.
With the spread of technologies, which have become an integral part of modern world, chaos has been one of the key ontological categories not only in development of computer technology, but also in creation of new kinds of artistic work in digital art.

The article expounds the manifestation of the mythologeme of Chaos in the non-linear paradigm of the modern architecture. The onthological-esthetical category of Chaos is shown to have an influence on the process of the creation of the architectural form, being both the esthetical principle and one of the sources of architect’s inspiration. The interrelations of the architecture with Physics, Cybernetics, Biology, and Synergetic are being analyzed. The author also researches the historical process of shifting of the architectural paradigms, namely as the gradual supplementation or even replacement of the Euclid geometry by the non-linear, fractal one. The place of the innovative computer technologies in the process of the architectural form-creating is shown.

The article dwells on one of such basic ontological world-making power as Chaos. One of the noticeable tendency of modern esthetic is active penetration into its sphere of notions which represent deep layers of human psyche and sources of artistic self-expression. One of such notions is the «mythologeme». The increasing interest in myth leads to the quite free use of main terms and notions of theoretical mythology. Thus one of aims of the article is to give a «working» definition to the terms mythologeme and archetype. The author researches the mythologeme of Chaos and its interpretation in the Ancient Greek culture. The main methods used are the comparative, the structural, the archetypal analysis. The main result of the research is that the mythologeme of Chaos as the cultural phenomenon is represented even in the mythological and esthetical-philosophical systems where the Chaos itself is not named and seen as the ambivalent, both creative and destructive force. The author also shows the artistic interpretation of the mythologeme in the Ancient Greek theatre.

The article dwells on the historical process of the transformations of Chaos symbolism as the esthetic interpretation of this ontological category. The comparative-historical research of the Chaos symbols from Neolith to contemporary culture, showed its global character. It can be seen especially well on the example of the universally spread spiral ornaments and the image of serpent- or dragon-like being. Symbols at large and particularly symbols of Chaos has the Cosmos-creating character in the archaic cultures. In the different national mythological traditions Chaos is seen differently, depending upon the correlations between the cultural connections, territory and epoch of the emergence of the motifs. Still, in spite of the difference between the concrete interpretations, the mythological Chaos is related not only to destruction, but to creation as well. Very close ideas are manifested in the culture of ХХ – early ХХІ ct.; it is especially notable that they emerge practically simultaneously and independently in such different spheres as the fantasy literature and the scientific theories, which, in its turn, gave an impulse to the development of the science art.

Today randomness is seen not only as an art method, but as one of the main esthetic principles. The article dwells on the randomness as a basis for new and experimental types of art, that change canons and because of it are criticized strongly.
But, as the history of the early XX ct. shows, the recognition of new in art is the question of time. The comparative-historical analysis of such artistic forms as Avant-garde (Dadaism, Surrealism, Abstract Expressionism, Tachisme), rock-music (Punk, Hardcore), photography (Lomography) shows the possibility of seeing the randomness as one of the leading principles of XX – early XXI ct. art. Different styles and kinds of
art, often independently, have transformed spontaneity in the work into the philosophy and ideology of world-perception and self-expression. The principle of randomness
can be viewed as a concrete manifestation of the trans cultural archetype / mythologeme of Chaos. This allows us to introduce the abovementioned art forms in a much wider cultural context.

The article is about the interpretation of the Chaos mythologeme in its interrelation with the artistic aspect of the Snake
imagery. The Chaos mythologeme in the epoch of mythopoeic creativity acquires the zoomorphic personification that with the course
of time starts functioning as the sign or emblem, still retaining in the considerable extent its semantics of the Chaos symbolism,
closely related to the elements such as water, fire, earth, and other natural forces, that have been seen by humans both as the cradle of
all existing things, and at the same time – as the threat to the society’s prosperity, considering the unpredictable and destructive character
of the natural forces. But even today the images related to the Snake or Dragon symbolism is common in the contemporary
culture, proving the deep meaning of the Snake symbol for the human unconscious and its cultural manifestations.

Філософські погляди К.Ушинського викладені в працях “Людина як предмет виховання”, “Про моральний елемент у вихованні”, “Питання про душу у його сучасному стані”, “Праця в її психічному і виховному значеннях”, “Про користь педагогічної літератури” і інших, у його повістях, оповіданнях, казках, у особистому листуванні з друзями. К.Ушинський глибоко вивчив історію філософії, часто перечитував Аристотеля, знаходив у його думках багато раціонального, а погляди Платона аргументовано критикував.
      Учений розумів тісний зв’язок між педагогікою і філософією. Педагогіка, стверджував він, наука філософська, мистецтво виховання. Основою філософських досліджень педагога були питання будови та існування світу, місця людини в ньому як невід’ємної частки природи і водночас соціальної істоти.
Створюючи власну фундаментальну філософсько-педагогічну теорію, К.Ушинський спирався на філософію Гегеля, Канта, Спенсера та інших учених-мислителів, розвиваючи, доповнюючи і критикуючи їх теоретичні установки, виробляючи і кристалізуючи власні філософські основи педагогічної науки.

Історичний досвід церковно-суспільних в відносин часи Другої Світової війни характеризується складністю, суперечливістю, і навіть трагізмом. Питання, в загальному вигляді сформульоване Б. Расселом : «Чи внесла релігія позитивний внесок в історію?».