The main problem in the proposed work is determined by the detection of major changes in the relationship between orality and literacy in the modern information society and the enormous influence of the transformation these changes brought about in the globalizing social movements. Relation orality/literacy is treated as a current and lively question of today’s world, modern science and modern thought. By orality and literacy in a broader sense we understand such complex phenomena literary and linguistic, and cultural, especially in modern times when language, communication and information obtained decisive importance in social dynamics. It is important not to establish a sharp boundary between oral and written texts, for they differ only in their degree of oral / literariness aspects. Approach to this issue is in the interdisciplinary emphasis. In fact, this topic once a subject of study primarily of literature, linguistics and folklore is becoming now a major area of interest of anthropology, culturology, philosophy, sociology, media theory, psychology, economics and political science. The opposition of oral and written interferes with a number of other conceptual oppositions: anonymous/collective – individual, traditional – modern, rural – urban, mass – elite, popular/folk – scholarly, popular – artistic/artificial; sound – visually. The topic you are considering, or the relation of orality and literacy as part of a problem is the relationship of unfixed and fixed forms of human creative activity. Of course, orality is not only related to the unfixed and fixed forms of literacy. It is the very relationship of language change. For example, in electronic communication intertext works are a new form of orality. The boundaries between orality and literacy are increasingly deleted. New computer literacy re-introduced a richer, nonlinear forms of communication. Computer novel allows the reader to participate in its formation (in which consciousness is perceived oral). Literature has also returned to the ancient storytelling and oral tradition. The oral literature is by some of its features a hypertext.


The topic of the ever more accelerated pace of life and laments over the destructive effects of this phenomenon, is not new. It has already appeared in the nineteenth century with the invention of railways and telegraphs. Since the age of industrialization modern man has begun to experience a radical change in his relationship to time. With the globalization, which came on the wave of new information technologies, the imperative of speed, urgency, instantism, simultaneity, short termism, established as new units for measuring time. At the source of time acceleration are modern technologies, but Internet brought this process to a climax. Accordingly, it can be argued that speed is not just a secondary feature, but one of the determinants of modern civilization. There is a constant pressure of the acceleration and fragmentation of time which, overflowing from economic and technological spheres tends to colonize the entire psychological and social space. In this paper we do not deal with value judgements on technological speed per se, nor express nostalgic sadness for the good old slower times. We are interested in the way speed, as value-neutral, or even positively connoted term, refracts through psychological prism, specifically the perception of time, so establishing haste (urgency) as dominant mode of individual and social existence. In order to better understand and analyze the relationship between speed and haste, and its effects on psychosocial health, we distinguish between three kinds of temporality: physio-psychological, socio-psychological and techno-psychological. According to the results of a research carried out with regular Internet users, we try to show how they come to suffer a stressful conflict between these temporal modes and develop the so-called “pathology of present”.


When Alvin Toffler published his book “Future Shock” in 1970s, it was hard to believe his claims that our society is entering an era of change that will completely change the picture of the world. However, technological and information revolution, as the main drivers of development today, not only changed the way we work and create, but the overall picture of social and private life of man from the beginning of the 21st century. Personal computers at work, at home and in the form of phone, iPod, iPhone, iBook, Internet, Skype, IM (chat), online shopping and learning, online friendship and dating, are just some of the elements of modern life that only a few decades ago were unacceptable, while life today would be unimaginable without them. It is interesting that although these changes are reflected in a number of (or all) aspects of modern life, it seems that  (formal) education is not among them. Education systems around the world still reflect the social, historical and economic period in which they occurred – the period of industrial revolution. Understanding of school as a factory is not unknown in the theory and practice of modern education. The paper is intended to refer to the directions of possible changes in educational systems around the world, and the role of modern media in conceptualizing education correspondent to the needs of the 21st century. We want to explore potential and likely scenarios of development of education, which will by using the advantages and opportunities of contemporary media and technology meet the needs of development in the 21st century.


The title of the paper suggests several dimensions of questioning the meaning of the philosophy of media. The first level includes the text which questions the reasons for the existence of philosophy itself (Adorno, Habermas, Heidegger …). The second level initiates the question: What is the point of philosophy if it isn’t philosophy, is the level of questioning philosophy in relation to dimensions outside of the realm of philosophy that have influenced it throughout history. The third level examines the importance and necessity of precisely those methods and approaches developed by the great achievements of thinkers, who we consider (some more, some less) essential to the philosophy of media.


Personal identity is a concept that can be determined through the consciousness of the experience continuity in the dimension of time. Personal identity is not substantial, but formal relation that articulates its contents in different ways, which are socially conditioned (gender, professional, national etc. identity). Similarly, collective identity is established as consciousness of the shared experiences and traditions. The basic thesis of this article is that the personal and collective identity in a virtual world set up in the same way as in “real” world, as well as that the identity in a virtual world is less stable than the identity in “real” world.


It is widely considered that the Classical Hollywood Cinema as an array of production practices, narrative and stylistic features was formed as early as by 1917, and that it remained relatively stable until the 1960s. What happened after this? The opinions of various film historians and theoreticians are not unanimous. Some talk about ´postclassical´ cinema, while the others claim that the fragmentation of everyday life has found its way to cinema as well, and that the Classical film has desintegrated under the dominance of the spectacle. In this paper we will give account of the basic characteristics of the Classical Hollywood film and explain how it functions while providing several examples, mainly based on the research of David Bordwell. We will see what was crucial for the popularity of this form not only in the US but also throughout the world. Also, we will discuss developments concerning the Classical Hollywood film during the last few decades and present different theoretical approaches, which appeared in this period and attempt to offer our comment of these.


The early 1980’s were marked by sudden eruption of creative energy that moved the local artistic production closer to global trends. Authentic values of the period in music known as the “New Wave” were expressed through various mutual activities, different forms of cultural resistance and open social-political intervention. Social function of these texts, as well as their exceptional originality, radicalism and visionariness, allow us to observe the new wave as an artistic movement of contemporary avant-garde, as well as to shed some light on its significant art production that determined and followed the musical expression, much better known to the general public. Works of the New Wave are typically on border areas of different arts. With the strong presence of music and dance, and based on its sensual character, this genre is especially close to theatre-performance art forms that are striving for urban, street culture. The new wave artists are using the media as the means of mutual communication, a space for exchange and verification of their own artistic positions, but also as a field of experiment, in both technical and ontological sense. Free of all constraints, and for a while overlooked by censorship, the New Wave managed to produce an abundance of initiatives in a very short time period, as well as to reactivate belittled artistic process. Such works say farewell to something that is obsolete, through forms that indicate future, whereas their content is more in what they anticipated then in what they realized. Individual artists through their common projects of this period were able to recognize the truth, which social and political system had a tendency to cover up. They were also sufficiently brave to present such truth in public, and sufficiently resourceful to present their ideas through available media, in which they confirmed Brecht’s opinion that avant-garde artist is the one who is wise enough to discover relevant truths.


The paper is trying to mark a moment in the Western intellectual history when the transformation of the notion of aesthetical occurred, i.e. the place where the notion of aesthetical has not been used any more in the context of art and traditional aesthetics but rather mass media society and culture analysis. Therefore the relation between John Cage’s music and Louis Althusser’s philosophy is analyzed for it brought about the turn from ontological toward constructionist characterizations of art, culture and society.


Panegyrics to mass media and freedom of media are not so actual and we do not need it so much, because public silence and obediance became normal. Wars and conquests are no more problems, they are becoming – interactive experiences. Masters of corporative and global truths are trying to achieve planetary consenzus about the facts you don’t need to check. Nowadays, massmedia don’t talk critical about dogmas, they become new dogma itself for public and human relationships. Once the media manipulated with wishes and needs, today much more with attitudes and values. Manipulation and production of media illusions affects perception, thoughts and behaviour. In fact, controlling the mind is controlling the consciousness of man about himself and the society around him. Beyond the ethics begins a new media reality where people are totally satisfied because they really are existing in the best of possible worlds. Is the human hunger for information cause or result of the mass escape from freedom? What else we must do if we don`t want to fall over the the edge of ethical cliff? The New Orvelianism of media works as planetary destiny, but also as a sofisticated version of accepting the alienation as salvation, in which two kinds of people exist – media voyeurs and media exhibitioners. Big Brother is not around us any more and he does not need to watch us as usual – we become the Big Brother himself.


In this paper the author analyses the aspects of globalization, culture, identity, consumption, media and culture in the modern consumer society. The values this society imposses by its consumption and market identification define the society as a dominant consumption culture with market as its main characteristic. The consumption is defined as the main spot in the realization and creation of the contemporary, man-of-today identity. The basic problem appears to be the lack of understanding concerning the global aspects of the society we are living in. Gadamer’s understanding of hermeneutics as a practical philosophy and Heidegger’s definitions of phenomenology from his earlier works may help us in understanding the basic guidelines of the modern society.