The interaction between media and works of art is one of the most pressing scientific problems, which has recently been actively developed within the framework of new research projects such as media archeology. Within the framework of media archeology, the usual linear sequence of media changes is interpreted as the layering and simultaneous coexistence of various technological systems. Referring to the classification principles proposed by G. Pross, F. Kittler and Z. Zillinski, it becomes possible to define the post-medial regime as a problematic field, based on the further development of interactive quaternary mediality, based on zero-dimensional encryption methods used by digital technologies. Using the example of a study of some representatives from the field of the gaming demoscene, we can identify the distinctive features of the new communication regime. Firstly, there is a shift from the practice of control and management of media in favor of its customization with subsequent reproduction, which indicates a transformation of the very nature of the relationship between man and technology. Secondly, new techniques for constructing hyperreal experience lead to the formation of a kind of “wierd media” that simultaneously retain their agency and reality, but at the same time become transparent, creating the illusion of minimal interference in the process of communication between a person and the message transmitted with their help.
media, S. Ziellinski, Post-media, Wierd-realism, Demoscene, Video Game
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