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Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Art History of the 21st Century: New Directions, Ideas, and Creators
The beginning of the 21st century marks a new stage in the history of global art, one in which traditional models of understanding art are becoming increasingly inadequate. Over recent decades, art has undergone fundamental transformations driven by rapid technological development, processes of globalization, and the emergence of new cultural paradigms. Contemporary art can no longer be understood merely as a sequence of stylistic shifts or a linear progression of aesthetic forms; rather, it functions as a complex, multifaceted cultural system that integrates diverse disciplines, social practices, and technological structures. As art historian Terry Smith notes, 21st-century art should be perceived as a "meeting ground for global cultural flows," where traditional art categories are constantly shifting and expanding (Smith, 2012). This perspective allows us to move away from the concept of a linear progression of art and toward networked, polycentric models of interpretation. In the 20th century, art history was typically grounded in clear chronological frameworks encompassing the stages of modernism, the avant-garde, and postmodernism. However, in the 21st century, such a model is becoming increasingly unsuitable. Globalization, new communication technologies, and the proliferation of cultural centers are creating a dynamic art landscape that can no longer be contained within a single, coherent historical narrative. Art historian Hans Belting describes this situation as a "global art space" in which diverse cultures and aesthetic traditions coexist and constantly interact (Belting, 2013). This monograph aims to analyze the evolution of 21st-century art precisely within such a global and multifaceted perspective. The study seeks not only to describe new art forms but also to analyze the theoretical models that help us understand the transformations of contemporary culture. In this context, art is perceived as an active cultural practice that reflects social processes, technological innovations, and political structures. One of the key characteristics of 21st-century art is the impact of technology on the creative process. Digital media, artificial intelligence, virtual reality, and data visualization methods have fundamentally altered creative processes and the perception of art. Media theorist Lev Manovich argues that digital culture has shaped a new aesthetic logic in which art is increasingly grounded in programming principles, data structures, and algorithmic processes (Manovich, 2001). This gives rise to art forms that are interactive, mutable, and responsive to the viewer. Globalization is an equally significant factor, having fundamentally transformed the ways in which art is disseminated and communicated. International exhibitions, biennials, and residency programs create a global cultural network that fosters ongoing collaboration among artists, curators, and researchers. Events such as the Venice Biennale or *documenta* serve not only as platforms for presenting art but also as vital hubs for theoretical discussions on contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-51-1
Tomas Lagūnavičius and the Philosophy of New Statistical Art
The modern world is increasingly grounded in data, algorithms, and the constant circulation of information. This reality inevitably transforms not only science and technology but also the very concept of art. The boundaries of traditional aesthetics are dissolving, and creativity is taking on new forms that are inextricably linked to statistics, models, and collective trends. Through his ideas, Tomas Lagūnavičius seeks to define this shift by proposing a new perspective on art—a philosophy of statistical art. This is not merely a theoretical construct but an attempt to understand how art functions in a world where meaning is generated not only individually but also systemically—through repetition, dissemination, and data interaction. The book examines how art transforms from a unique creative expression into a phenomenon existing within a broader informational landscape. Here, significance lies not only in the artwork itself but also in its relationship with the audience, its dissemination, the volume of interpretations it generates, and its place within the overall cultural structure. Fundamental questions are raised: Can art still be perceived as an individual act? What does originality mean in an era of statistical repetition? And how does the role of the creator change when creativity becomes inseparable from systemic processes? This book invites the reader not only to explore a new philosophical direction but also to rethink the very understanding of art—as a dynamic, evolving phenomenon increasingly linked to the logic of data.
Language: Lithuanian
ISBN 978-609-8349-62-7
Tomas Lagūnavičius and the New Philosophy of Participatory Art
Tomas Lagūnavičius is a creator of contemporary Lithuanian thought whose work integrates philosophy, art, and cultural reflection into a cohesive, living worldview. The "New Philosophy of Parcitative Art" he develops invites us to rethink not only the role of art but also the very nature of the human relationship with reality, creativity, and the self. This philosophy emerges as a response to a contemporary culture characterized by fragmentation and an overload of information. Here, "parcitativity" is understood not merely as an aesthetic principle but as a mode of being—an ability to weave fragmented experiences into a meaningful whole where form matters, yet so too do inner experience, consciousness, and creative responsibility. In Lagūnavičius’s thought, art transcends traditional disciplines. It becomes a universal language enabling individuals to explore themselves and the world, to cross established boundaries, and to forge new structures of meaning. The New Philosophy of Parcitative Art proposes viewing creativity as a process where intellect, intuition, and experience converge, and where every individual becomes an active participant. This book is an invitation to embark on an intellectual and creative journey—one that not only introduces the reader to a new philosophical system but also encourages them to re-examine their own relationship with art, culture, and everyday life. This is an attempt not only to define a new direction in the philosophy of art but also to inspire a living dialogue among the creator, the artwork, and the perceiver. The new philosophy of *parcitative* art is not a closed theory; it is an open, constantly evolving space of thought that invites everyone to contribute to its creation.
Language: Lithuanian
ISBN 978-609-8349-61-0
Tomas Lagūnavičius – a pioneer of art, philosophy, and new hybrid art.
In the cultural and intellectual landscape of the modern world, we increasingly encounter phenomena that no longer fit within traditional disciplinary boundaries. Art intertwines with philosophy, technology transforms the nature of creativity, and the human relationship with reality becomes increasingly complex and multifaceted. Against this backdrop, new lines of thought are emerging—approaches that seek not only to integrate diverse fields but also to establish a new, unified system of creativity and knowledge. Tomas Lagūnavičius is one of the figures shaping these new directions. His work encompasses art, philosophy, and so-called "new hybrid art"—a concept that transcends conventional creative limits and offers a fresh perspective on the relationship between the creator, the artwork, and the viewer. Lagūnavičius’s ideas are grounded in the principle of connection: a synthesis of distinct disciplines, experiences, and modes of thought that gives rise to new meanings. This book aims not only to present the work and ideas of Tomas Lagūnavičius but also to illuminate the broader context in which hybrid art emerges. It analyzes his core philosophical principles and creative practices, as well as their significance for contemporary culture. It also raises questions regarding the future of art, the role of the creator, and the boundaries between different forms of knowledge. It is important to note that this book is not solely about a single artist. This is an attempt to understand the broader transformation taking place in contemporary thought. Here, T. Lagūnavičius becomes not only a subject of study but also a starting point for a discussion on what art is today and what it might become tomorrow.
Language: Lithuanian
ISBN 978-609-8349-59-7
THE PHILOSOPHY OF POST-DIGITAL REALISM:
The Art Ontology and Epistemology of Tomas Lagūnavičius
The beginning of the 21st century marks not only a technological breakthrough but also a profound epistemological and ontological shift that alters the very conditions of our perception of reality. The traditional concept of art—grounded in representation, the author’s intention, and the stability of the material object—is increasingly losing its explanatory power in a world where images, data, and algorithms no longer merely reflect reality but actively shape it. As early as the late 20th century, Vilém Flusser perceptively noted that technical images are no longer representations of the world; rather, they are becoming tools for programming it. Today, this thesis takes on a new, more radical significance: digital and AI-generated images function not as secondary reflections of reality, but as primary structures organizing social, economic, and cognitive orders. The image becomes an active force—an operational matrix in which reality is constantly created, modified, and reconstructed. In this context, a need arises to reconceptualize reality, art, and the very process of cognition. This book proposes such a reconceptualization by defining post-digital realism—not as a stylistic category or art movement, but as a complex philosophical paradigm encompassing an aesthetic epistemology and a theory of technological being. Post-digital realism rests on the premise that reality no longer exists as an autonomous foundation independent of media. On the contrary, it emerges as the product of hybrid human-technology systems—as a continuous generative process. This transformation was partly anticipated by Jean Baudrillard, who spoke of the dominance of simulacra and the rise of hyperreality. However, while Baudrillard’s analysis focused primarily on the autonomy of signs and the disappearance of reality, post-digital realism goes further: it examines not only simulation but also the algorithmic production of reality. In this new ontological situation, artificial intelligence is no longer merely a tool; it becomes an active agent participating in the creation of being. An important theoretical underpinning for this paradigm is Gilles Deleuze’s ontology of becoming, which posits that being is not static or essential but constantly changing and taking shape. This perspective allows us to understand generative art as an ongoing process of form emergence—one without an original, a center, or a final state. In this light, images generated by artificial intelligence become not copies but events—moments of becoming in which reality is created anew. It is precisely at this theoretical intersection that the central subject of this book emerges: the work of artist and theorist Tomas Lagūnavičius. In this study, T. Lagūnavičius is not examined as a biographical figure or an individual creator in the traditional sense. His work is treated as a discursive nexus where generative art, theatrical practice, the aesthetics of artificial intelligence, and posthumanist theory intersect. It is a space that not only reflects on the new reality but also practically tests the mechanisms of its creation. This book raises three fundamental sets of questions that define the philosophical problematic of post-digital realism. First, the ontological question: what is reality when it is generated by algorithms? Second, the epistemological question: how do we know the world when our experience is inevitably mediated by digital filters and data structures? And third, the aesthetic question: what is art when creation becomes the result of human-machine collaboration, and the work itself is not an object but a process? To address these questions, the book employs an interdisciplinary methodology combining philosophical analysis, approaches from visual studies, media theory, research into artistic practice, and discursive hermeneutics. Particular attention is paid not only to the artworks themselves but also to the systems that generate them—algorithms, data structures, and technological infrastructures—which become an integral part of the aesthetic experience. The central hypothesis of this monograph posits that the work of Tomas Lagūnavičius shapes a paradigm of post-digital realism, in which art becomes not merely a reflection of reality but a mechanism for its production. This signifies a radical shift: art no longer reflects the world—it constructs it. In this context, the artist becomes less a creator and more a system operator, working with processes that generate ontological reality. Consequently, post-digital realism is understood here not as a narrow theoretical stance, but as an attempt to describe a new mode of being—one where reality is programmatically generated, the subject loses its privileged position, and art emerges as a primary form of ontological production. From this perspective, Lagūnavičius’s work appears as an experimental laboratory—a site where new forms of reality are tested and the very boundaries of the relationship between art, technology, and the human are re-examined. This book invites us not only to analyze these processes but also to rethink our own place in a world where reality is no longer a given, but a constantly generated, algorithmically structured state of becoming.
Language:
Language: Lithuanian
ISBN 978-609-8349-67-2
Post-consciousness: Beyond traditional consciousness
This book arises from a dissatisfaction with simple answers. For a long time, consciousness was regarded not only as the center of human experience but also as a final boundary—the point where questions cease and meaning begins. Yet, the more we learn about it, the clearer it becomes that this boundary is not as solid as once thought. Consciousness does not so much conclude understanding as structure it—implying that it can itself be transcended. In this context, post-consciousness is neither a utopian vision nor a form of technological determinism. It is an attempt to think beyond the conventional limits that frame consciousness as a closed system. Instead, it proposes viewing consciousness as a process—dynamic, mutable, and contingent upon the body, the environment, culture, and, increasingly, technological extensions. If consciousness is a process, it can transform, expand, or even fragment into forms that currently lack clear names. In this work, post-consciousness is defined as a state—or rather, a spectrum of states—in which traditional boundaries of subjectivity lose their significance. This does not imply "more consciousness" or "higher awareness." On the contrary, it may entail the decentralization of consciousness and its distribution across various systems: biological and artificial, individual and collective. From this perspective, the "self" becomes not a center, but an intersection. Technological development here is no mere incidental backdrop. Artificial intelligence, neurotechnologies, and brain-computer interfaces—all of these not only expand human capabilities but also alter the very question of who experiences, who perceives, and who decides. If cognition can be distributed between human and machine, and if decisions emerge from hybrid systems, then consciousness loses its privileged position as the sole axis of experience. Yet, this book is not solely about the future; it also addresses the limitations of the present. It explores how our language, concepts, and even intuitions are shaped to uphold the idea of consciousness as the central hub. Post-consciousness demands not only new theories but also a certain epistemological humility—the capacity to acknowledge that our current tools of thought may prove inadequate for what we are attempting to describe. "Consciousness has long been regarded as the final stronghold—yet perhaps it is merely a transitional state." This statement is not a call to abandon or devalue consciousness; on the contrary, it is an invitation to rethink it. If consciousness is but one possible mode of organizing cognition, the question arises: what are the others? "What we consider to be 'ourselves' may be but a narrow slice of a far broader process." This book does not aim to provide definitive answers. Rather, it seeks to unsettle overly comfortable convictions and open up space for a mode of thinking that has not yet taken on fixed forms. Here, post-consciousness is not merely an object of study but also a method—a way of thinking about what is only just taking shape. Perhaps the most important question posed by this book is not "What is consciousness?" but rather "What comes after it?"
Language: Lithuanian
ISBN 978-609-8349-68-9
POST POST
Philosophy and Practice of Digital Art
Today, digital art is not merely the result of technological advancement but also a new form of thinking, creation, and perception. It transcends the boundaries of traditional art, merging aesthetics with algorithms, creativity with code, and artistic intuition with the logic of digital systems. As this field of art constantly evolves in response to rapidly developing technologies, its philosophy and practice become inextricably linked to broader cultural, social, and even ethical issues. This book aims to reveal the multifaceted nature of digital art, ranging from its theoretical foundations to practical creation methods. The first part examines how the concept of art is shifting in the digital age—exploring notions of originality, authorship, and the value of a work when creation can be generated by algorithms or artificial intelligence. The second part focuses on practice: the tools, techniques, and processes that enable artists to realize their ideas within the digital realm. A key objective of this book is not only to impart knowledge but also to foster critical thinking. Digital art is not simply a new medium; it is a space where traditional artistic principles are re-evaluated and new creative possibilities are forged. At the same time, it is an invitation to experiment, make mistakes, and discover—for it is within this ever-changing landscape that innovation is born. This book is intended for both beginners and advanced creators, as well as anyone interested in the intersection of art and technology. It invites readers to view digital art not merely as a tool, but as a new way of thinking.
Language: Lithuanian
ISBN 978-609-8349-58-0
Post-pragmatic art
We live in times when almost everything is valued according to its utility. Speed has become a virtue, productivity a moral criterion, and efficiency a near-universal language. Technologies optimize our time, algorithms predict our choices, and culture is increasingly measured by metrics of attention, reach, and market performance. For a long time, a pragmatic logic dominated art as well: a work had to communicate, represent, have an impact, sell, or at least perform a clear function. But what happens when a person grows tired of being merely a function? Post-pragmatic art emerges as a response to this fatigue. It is not a simple rebellion against pragmatism, but rather a state beyond it—a cultural and existential territory where criteria of utility no longer seem sufficient to define the human experience. It is art that asks not "what is this for?" but "what does it mean to be here, now, in this world?" It seeks to restore autonomy, uncertainty, sensitivity, and the possibility of existing without direct justification to the creative process. Post-pragmatic art does not shy away from contradictions. It can be conceptual and emotional at the same time. Technological yet intuitive. Critical of society yet deeply personal. It fuses philosophy, digital media, social critique, performativity, virtual reality, the aesthetics of artificial intelligence, and individual inner states. This art exists between reality and simulation, between the human and the algorithm, between experience and its representation. A key theme of post-pragmatic art is the transformation of reality. In the digital age, humans constantly inhabit the space between the physical and virtual worlds, between authentic lived experience and its imitation. Consequently, art begins to explore not only reality itself but also its constructs: how identities are created, how emotions are shaped, and how the economy influences our feelings, attention, and even our imagination. Emotions become capital, information turns into noise, and meaning becomes increasingly elusive. In this context, post-pragmatic art often eschews clear explanation. It does not necessarily seek to be "understood" in the traditional sense; instead, it invites us to experience it. The process becomes more important than the result, the state of being more significant than the conclusion, and sensitivity more vital than control. The work may be fragmentary, unfinished, ephemeral, or even contradictory—reflecting the very nature of human consciousness today. This is not an art movement defined by rigid stylistic boundaries or a manifesto. Rather, post-pragmatic art represents a stance—a way of creating and thinking in the wake of an era that evaluated everything based on function. It invites us to rethink value in a world where value was for too long equated with utility. And perhaps its most important question concerns not art, but the human being: what remains of us when we cease to be merely productive? This book is an attempt to reflect on this new territory of creativity—its ideas, forms, tensions, and possibilities. It is an invitation not only to analyze post-pragmatic art but also to experience it as a state of sensibility, an opening up to uncertainty, and an attempt to reclaim the human imagination in a world that increasingly demands nothing but efficiency.
Language: Lithuanian
ISBN 978-609-8349-78-8
Post-Post-Systemic Art: The Philosophy and Practice of Tomas Lagūnavičius
Contemporary art constantly balances between structure and chaos, between system and its dismantling. Following the long eras of modernism and postmodernism—periods characterized by both the creation and deconstruction of systems of meaning—a need has emerged for a new relationship with the system itself. It is within this context that the concept of "post-post-systemic art" arises: an attempt not merely to reflect upon systems, but to consciously create, transform, and transcend them. This book is dedicated to analyzing the philosophy and practice of Tomas Lagūnavičius. His work is distinguished by a drive to unite theory and action, thought and experience, individual consciousness and collective structures. In Lagūnavičius’s work, the system is not a static model but a living, constantly evolving process involving both the creator and the viewer. Post-post-systemic art, as developed in this artist’s work, moves beyond the irony and fragmentation typical of postmodernism. Instead, it proposes a new direction—constructive yet reflexive creation—where the system becomes an opportunity rather than a constraint. This is art that not only analyzes reality but actively models it. The book examines Lagūnavičius’s core theoretical principles, their expression across various media, and the practical methods that enable the artist to act as a creator of systems. It also aims to demonstrate how this philosophy can be applied not only in art but also within a broader cultural and social context. This text is addressed to artists, researchers, and anyone interested in new forms of thinking and creative strategies. Post-post-systemic art invites us not merely to observe but to participate—to create systems that create us.
Language: Lithuanian
ISBN 978-609-8349-66-5
The Philosophy of the "Post-Post-Media" Theatre Style: The Theories and Practices of Tomas Lagūnavičius
Postpost medijų teatro stiliaus filosofija kyla iš poreikio peržengti tradicines teatro, medijų ir jų sąveikos ribas. Ši kryptis ne tik reflektuoja postmodernizmo išskaidytą tikrovę, bet ir siekia ją rekonstruoti naujais, daugiasluoksniais būdais, kuriuose žiūrovas tampa ne pasyviu stebėtoju, o aktyviu reikšmės kūrėju. Postpost medijų teatras atsiranda kaip atsakas į informacijos pertekliaus, virtualumo ir nuolatinės reprezentacijų kaitos epochą, kurioje tikrovė nebeatrandama – ji kuriama. Tomo Lagūnavičiaus teorija ir praktika šioje knygoje siūlo nuoseklų ir kartu provokuojantį požiūrį į teatrą kaip į gyvą, kintančią sistemą, kurioje susilieja technologijos, kūnas, erdvė ir sąmonė. Autorius analizuoja, kaip medijos ne tik papildo teatrinę raišką, bet ir iš esmės transformuoja pačią teatro ontologiją. Postpost medijų teatro kontekste scena tampa nebe fizine vieta, o dinamišku tinklu, kuriame veikia įvairūs realybės sluoksniai. Ši knyga skirta ne tik teatro praktikams ar teoretikams, bet ir visiems, kurie domisi šiuolaikinės kultūros virsmais. Joje keliami klausimai apie autentiškumą, patirtį, identitetą ir kūrybos ribas skatina permąstyti nusistovėjusias meno formas. Postpost medijų teatro filosofija kviečia ne ieškoti galutinių atsakymų, o nuolat kurti naujus klausimus – nes būtent juose gimsta gyvasis teatras.
Kalba: lietuvių
ISBN 978-609-8349-71-9
The Philosophy of Post-Liberal Democracy
The thesis regarding the triumph of liberal democracy, prevalent in the late 20th century and popularized by Francis Fukuyama in his work *The End of History and the Last Man*, proclaimed liberal democracy to be the final stage of political evolution. Following the collapse of alternative ideological systems after the Cold War, it appeared that the market economy, human rights, and parliamentary democracy had become a universal civilizational model facing no serious competitors. The liberal order was perceived not merely as the most effective political system but also as the normative horizon toward which modern societies were inevitably moving. However, at the beginning of the 21st century, this thesis has come under increasing scrutiny. Economic inequality driven by globalization, the weakening of the middle class, political polarization, the growing power of technology corporations, migration crises, the rise of populism, and the erosion of democratic institutions have prompted a new wave of intellectual and political reflection on the limits of liberalism. Many authors have begun to question whether liberal democracy is truly capable of ensuring social solidarity, political stability, and a vision of the common good. It is against this backdrop that the idea of post-liberalism is emerging. Post-liberalism is neither a monolithic ideology nor a coherent political doctrine; rather, it is a broad field of philosophical, political, and cultural critiques united by the aim of transcending the premises of classical liberalism. Post-liberal thought criticizes the excessively individualistic conception of the human being, the autonomization of the market, the ideal of the neutral state, and the reduction of politics to procedural governance. Within the post-liberal paradigm, fundamental questions of political philosophy are raised anew: what is the relationship between the individual and the community; what are the limits of state responsibility in economic and social life; what grounds the legitimacy of democratic authority; who can be considered a political subject today; and how can freedom, solidarity, and collective identity be reconciled? Different strands of post-liberalism answer these questions in various ways. Some authors emphasize the importance of communality and civic virtue, while others focus on restoring economic sovereignty, protecting cultural identity, or revitalizing democracy. Despite these differences, most share the conviction that liberalism’s promise of a neutral, rational, and universally acceptable political world is facing a deepening crisis of legitimacy. This book seeks to philosophically analyze the premises, internal tensions, and potential political forms of post-liberal democracy. It examines post-liberalism not merely as a fleeting political reaction, but as a broader civilizational shift arising from the transformations of the modern liberal order. The book aims to demonstrate that the post-liberal paradigm is not simply a negation of liberalism; it is also an attempt to rethink democracy in the wake of the era of liberal hegemony.
Language: Lithuanian
ISBN 978-609-8349-80-1
Modeling Post-Classical Educational Science: Theoretical and Empirical Analysis of Educational Systems
The 21st-century education system is undergoing a fundamental transformation driven not only by technological progress and globalization but also by a deepening understanding of the human being as a learner. Traditional educational paradigms—long based on the logic of knowledge transmission—increasingly fail to meet the demands of a changing society or accommodate the diversity of individual learning trajectories. Learning is no longer perceived as a linear, one-dimensional process; instead, it has become a multifaceted, dynamic, and contextual phenomenon encompassing cognitive, emotional, social, and neurobiological aspects. In this context, there is a clear need to move beyond the boundaries of classical educational science and develop new theoretical models capable of explaining and predicting complex educational systems. Post-classical educational science emerges in response to this need, seeking to integrate insights from various scientific disciplines and foster a holistic view of learning as a biopsychosocial process. Such an approach enables not only a deeper understanding of learning mechanisms but also the development of more effective, flexible, and personalized educational strategies. This book analyzes the modeling of post-classical educational science as a theoretical and empirical research direction focused on the comprehensive understanding of educational systems. The focus is placed not only on the development of theoretical constructs but also on their practical application, aiming to create innovative educational practices that meet the needs of the modern individual. Significant attention is also devoted to developing contemporary educational ideas within the Lithuanian context. The book analyzes alternative educational systems that prioritize the individualization of learning, the cultivation of awareness, and the integration of neuropsychological principles. Such approaches allow for a rethinking not only of teaching content and methods but also of the very goal of education: to foster an independent, reflective, and lifelong learner. This book is intended for both educational researchers and practitioners who seek to gain a deeper understanding of educational transformations and to actively contribute to the creation of a new, post-classical educational paradigm.
Language: Lithuanian
ISBN 978-609-8349-43-6
The Philosophy of Post-Intellectual Realism: The Ontology of Tomas Lagūnavičius’s Thought and Art
The beginning of the 21st century marks not only a technological or social shift but also a profound transformation in the human relationship with reality. Globalization, the expansion of digital communication, artificial intelligence systems, information overload, and the constant reconfiguration of symbolic structures are fundamentally altering how individuals perceive the world, themselves, and the possibilities of knowledge. Classical philosophical paradigms—such as rationalism, empiricism, positivism, and even postmodernism—increasingly encounter limitations when attempting to explain contemporary fragmented consciousness, emotional thinking, and post-truth culture. In this context, a need arises for new theoretical systems capable of conceptualizing reality not merely as a logical or scientific structure, but also as a psychological, aesthetic, symbolic, and existential experience. One such direction can be termed "post-intellectual realism"—a hypothetical yet conceptually reconstructible philosophical paradigm emerging from the work, texts, artistic practices, and public discourse of Tomas Lagūnavičius. Within the Lithuanian intellectual landscape, Tomas Lagūnavičius stands out as a uniquely interdisciplinary figure; his activities bridge philosophy, psychology, art, cultural criticism, and performative thinking. Unlike traditional academic authors, he does not seek to construct a closed theoretical system. His texts are often fragmentary, provocative, and paradoxical, balancing between conceptual discourse and artistic intuition. Yet, it is precisely this fragmentation that allows for the reconstruction of a distinctive philosophical direction grounded in a critique of intellectual hegemony and a search for alternative forms of knowledge. In this work, post-intellectual realism is understood not as a classical philosophical school, but as a methodological and ontological stance asserting that reality exists independently of human consciousness, yet its comprehension can no longer be based solely on rational intellect. Intuition, emotional perception, aesthetic experience, psychological impulses, and artistic practice play a significant role in this paradigm. Here, art becomes not merely an illustration of philosophy but an autonomous epistemological system—a way of knowing what cannot be fully expressed through conceptual language. Several key aspects determine the relevance of this book.
Language: Lithuanian
ISBN 978-609-8349-69-6
Post-generative Art: Tomas Lagūnavičius’s Concept and Philosophy
In the fields of contemporary art and philosophy, questions regarding the value and meaning of an artwork, as well as its relationship with technology, are increasingly being raised. In his concept of "post-generative art," Tomas Lagūnavičius analyzes how the overproduction of images driven by artificial intelligence alters the perception and evaluation of art. In this context, traditional aesthetic criteria lose their significance, while attention shifts to other factors—such as the artwork's price, its context, and the surrounding social circumstances. Post-generative art can be understood as a response to the ideas of postmodernism and post-conceptualism, seeking to rethink the creative process within a new technological reality. The aim of this work is to analyze T. Lagūnavičius’s concept of post-generative art and to elucidate its philosophical foundations. It also discusses how this theory interprets the value of contemporary art and the role of the artist in society. Finally, the work seeks to assess the relevance of this concept within contemporary culture.
Language: Lithuanian
ISBN 978-609-8349-47-4
Post-generative Art: Philosophical and Critical Perspectives
Art history has always been closely linked to technological development. From the Renaissance, when Leonardo da Vinci experimented with optical and mechanical tools, to modern digital platforms, art has consistently reflected the technological capabilities of its time. However, post-generative art marks a qualitative shift: the artwork is no longer merely an expression of the author but the result of algorithms, random parameters, and viewer interaction. This book seeks to answer the question: what does it mean to create and experience art in the post-algorithmic era? Drawing on posthumanist philosophy, we will examine the absence of the author, the autonomy of the artwork, and the ethical dilemmas arising from the role of technology in the creative process. As Grau (2003) states, "the nature of art has always been rewritten by technology; post-generative art merely highlights this dynamic." The phenomenon of post-generative art stems from the tradition of generative art, which integrated computer logic into the creative process as early as the mid-20th century. Unlike traditional generative art, post-generative art does not necessarily require human oversight: the creative process can unfold autonomously, allowing algorithms to generate, transform, and interpret artistic material on their own. Contemporary art theory and philosophy examine this process from several angles, including the transformation of the author—where the human is no longer the sole subject of the artwork. Autonomy of the artwork – algorithms become agents of creation capable of generating unique results independently of human intervention. Viewer participation – art becomes interactive, and the experience depends on the viewer's interaction with the work. As Deleuze (1992) writes, "generative art opens the door to a world where creation is not merely the prerogative of the individual, but the result of a complex system." This book combines philosophical reflection, art theory, and technological analysis to demonstrate how post-generative art rewrites concepts of the creator, the artwork, and the viewer, opening up new possibilities for understanding the transformations of creativity, aesthetics, and interactivity.
Language: Lithuanian
ISBN 978-609-8349-63-4
POST POST NEW
Media art style
Post-post-new media art marks a stage where digital technologies are no longer a novelty or an experimental medium—they have become a natural, taken-for-granted creative environment. While "new media" art once explored the possibilities of technology and "post-new media" reflected on its cultural impact, the current stage transcends these boundaries: technology is no longer the subject matter but a backdrop, inseparable from everyday life, identity, and creative expression. This art style bridges the physical and virtual worlds, blends analog and digital practices, and—most importantly—raises questions about reality, authenticity, and the human role in the era of algorithms and artificial intelligence. Post-post-new media creators no longer seek to define technology; instead, they use it intuitively, critically, and often imperceptibly, crafting works that exist across platforms, formats, and experiences. It is art born of an age of excess, constant connectivity, and a ceaseless flow of information. It not only reflects contemporary society but also shapes it, inviting the viewer to become an active participant rather than a passive observer.
Language: Lithuanian
ISBN 978-609-8349-57-3
The Philosophy of Post-Post-Algorithmic Aesthetics: Outlines of Tomas Lagūnavičius’s Art Theory
This book examines the field of post-post-algorithmic aesthetics as an emerging direction in art theory and practice, wherein traditional definitions of aesthetics, authorship, and media are constantly being reconfigured. The contours of Tomas Lagūnavičius’s art theory are presented here not as a closed system, but as an open structure of thought that reflects the influence of contemporary digital culture, artificial intelligence, and algorithmic processes on artistic creation. In this context, the "post-post" condition signifies not merely a continuation of modernism or postmodernism, but a radical shift toward a situation where aesthetics emerges from computation, data, and interaction. Art increasingly arises not as an expression of individual intention, but as an emergent process stemming from systems, networks, and the collaboration between human and non-human agents. Lagūnavičius’s theoretical framework allows us to view these processes as a new paradigm of aesthetic experience, in which the focus shifts from object to process, from form to generative logic, and from image to the conditions of its emergence. Thus, algorithmic aesthetics is understood here as a state of constant flux, where the artwork is not a final result but a temporarily stabilized state of the system. The aim of this book is not to define definitive concepts, but to open up a space for reflection on how algorithms, artificial intelligence, and digital structures are altering the very notion of aesthetics. It is an attempt to describe an unfinished, constantly evolving field in which art becomes both a technological and a philosophical issue. Here, post-post-algorithmic aesthetics is understood as a state in which the boundaries between creator, system, and viewer become porous, and the act of creation itself becomes distributed, multilayered, and subject to constant rewriting. The book invites us to view this process not as a threat to traditional aesthetics, but as an opportunity for its transformation.
Language: Lithuanian
ISBN 978-609-8349-65-8
The New Philosophy of Probabilistic Art: Tomas Lagūnavičius as a Paradigm Creator
This book arises from the need to rethink the nature of art in a world where certainty increasingly slips from our grasp and possibilities begin to rival facts. *The Philosophy of Probabilistic Art* represents an attempt to forge a new perspective on creativity—one where the focus shifts from final form to potential, and from completion to constant flux. In this context, Tomas Lagūnavičius emerges as a paradigm-shifter—a thinker who not only reflects on art but also proposes a new model for understanding it. His ideas are grounded in the premise that art is no longer a static object or a clearly defined meaning. Instead, it becomes a field of probabilities where every interpretation is an equally valid possibility, and the artwork exists as an open-ended process. This philosophy invites us to move beyond traditional determinism in art—the notion that a work possesses a single correct meaning or a closed structure. It proposes, rather, that we view art as a dynamic system in which chance, the viewer’s experience, and shifting contexts play pivotal roles. In doing so, art draws closer to contemporary scientific models, particularly probability theory and the analysis of complex systems. The book explores how probabilistic thinking can transform not only the creation of art but also its perception, criticism, and dissemination. It seeks to demonstrate that this paradigm is not merely a theoretical construct—it is a practical tool that offers a fresh perspective on the creative process within a global, technology-saturated world. *The Philosophy of Probabilistic Art* is not a closed system; on the contrary, it deliberately remains open, much like the art it describes. This book invites the reader not only to understand but also to participate: to interpret, to question, and to create their own meanings. For it is precisely here—between certainty and possibility—that new forms of art and new ways of thinking emerge.
Language: Lithuanian
ISBN 978-609-8349-56-6
The Philosophy of Procedural Art: Tomas Lagūnavičius and Posthumanist Creation
In the field of contemporary art, we increasingly encounter forms of creation that transcend the traditional relationship between author, material, and artwork. Procedural art is not merely a technique or method but a mode of thought in which creation is understood as an interplay of processes, rules, and systems. In this context, Tomas Lagūnavičius emerges as one of the most compelling thinkers and practitioners seeking to rethink the boundaries of art in the posthumanist era. This book is dedicated to a new philosophy of procedural art that integrates algorithmic thinking, technological creation, and posthumanist ontology. Lagūnavičius’s ideas invite us to move beyond an anthropocentric view of art—one that regards the human as the sole creator and source of meaning. Instead, he proposes viewing creation as a collaborative action involving humans, machines, the environment, and chance. Posthumanist creation, as developed in this book, is not simply about the use of technology in art; it represents a radical shift toward the realization that creative processes can be distributed, autonomous, and unpredictable. Algorithms, artificial intelligence, generative systems, and biological models become not merely tools, but equal partners in the creative process. In this way, art breaks free from the intentions of a single author and evolves into a dynamic, ever-changing system. The book analyzes how procedural art can be understood as a philosophical practice—a way of thinking about a world where the boundaries between the natural and the artificial, the creator and the creation, and the subject and the object are becoming increasingly blurred. Lagūnavičius’s perspective invites a rethinking of not only the concept of art but also the very nature of creativity: does creativity still belong solely to the human, or is it becoming part of a broader, more complex ecosystem? This introduction invites the reader on an intellectual journey in which procedural art reveals itself as a new philosophical paradigm. It is an invitation not merely to understand, but to experience creativity as a process in which chance, system, and emergence become key protagonists.
Language: Lithuanian
ISBN 978-609-8349-55-9
New Meta-Philosophy: Tomas Lagūnavičius’s Creative Paradigm
The modern world is moving ever further away from traditional definitions of art. The boundaries between creator and viewer, between idea and realization, and between reality and interpretation are dissolving. Amidst this transformation, a need arises for a new system of thought—one that not only describes art but becomes a creative act in itself. "A New Meta-Philosophy of Art" is not merely another theory about art; it is an attempt to transcend the very framework of how art is perceived. Here, art is understood not as an object or a result, but as a process, a state of consciousness, and a relationship between the individual and the surrounding reality. It is a paradigm in which creativity becomes not a privilege, but an existential necessity. Tomas Lagūnavičius’s creative paradigm invites us to view art as a living, constantly evolving phenomenon that exists not only in galleries or texts but also in everyday experience. It calls for a rethinking of the author's role, the liberation of creativity from institutional constraints, and the recognition of every individual's potential to be a creator. This book does not aim to provide definitive answers. On the contrary, it encourages us to ask questions: What is art today? Does creativity have limits? Is it possible to think beyond the confines of language? And, most importantly, what place does the human being occupy in this process? It is an invitation not only to read but to participate; not only to understand but to create. Perhaps the true art revolution begins not on the outside, but in our thinking.
Language: Lithuanian
ISBN 978-609-8349-52-8
New Hybrid Theatre Style
Theatre has always been an art form defined by constant change. From its ritualistic origins to classical dramaturgy, and from modernist experiments to post-dramatic theatre, every era has rewritten the rules of the stage. Today, we live in an age where change is no longer the exception—it has become the norm. It is within this space of constant transformation that a new phenomenon—hybrid theatre—emerges. *Hybrid Theatre* explores a form of theatre that no longer fits within traditional boundaries. It is a theatre that fuses diverse art forms, technologies, and experiences: live performance and digital projections, the physical stage and virtual spaces, dramaturgy and improvisation, creator and spectator. Here, the clear lines between disciplines blur, and the very concept of theatre becomes open to interpretation. This book seeks not only to define hybrid theatre but also to raise questions: What happens when theatre moves to the screen? How does the actor’s role change when an algorithm becomes their partner? Is the spectator still merely an observer, or do they become a co-creator? And most importantly—does theatre remain theatre when it breaks free from its traditional form? Drawing on contemporary creative practices, technological breakthroughs, and cultural transformations, this book invites us to view theatre as a dynamic, ever-changing system. This is not a closed theoretical treatise—it is an open space for dialogue among creators, researchers, and audiences. Hybrid theatre is not the future—it is happening now. And perhaps the most important task today is not to define it, but to learn how to inhabit it.
Language: Lithuanian
ISBN 978-609-8349-72-6
The New World Order in the 21st Century: A Philosophical, Political, and Epistemological Analysis
The beginning of the 21st century marks a period in which the world is undergoing transformations of a scale and intensity without clear precedent in earlier historical epochs. Globalization, digitalization, the development of artificial intelligence, the integration of financial networks, the shifting of geopolitical power centers, the climate crisis, and mass migration are altering not only the relationships between states but also the very structure of social reality. Against the backdrop of these processes, the concept of the "New World Order" is increasingly invoked, having become one of the most controversial and multifaceted categories in contemporary political and philosophical discourse. However, this concept is not monolithic. In some contexts, it signifies tangible changes in the international system—such as the emergence of new power centers, the strengthening of global institutions, and the dominance of economic and technological networks. In others, it takes on a normative character, describing initiatives aimed at achieving more effective global governance. In yet other instances, the idea of a "New World Order" becomes the subject of conspiracy theories, in which global events are interpreted as the outcome of actions taken by a secretive, centralized elite. Consequently, it is essential to distinguish academic analysis from ideological interpretations and psychological projections. The central question of this book is formulated as follows: how can the idea of a "New World Order" be interpreted from both philosophical and social-scientific perspectives, while avoiding both naive globalism and reductionist conspiracy theories? Answering this question requires an interdisciplinary approach that combines political philosophy, sociology, international relations theory, epistemology, and critical social analysis. The modern concept of "world order" emerged historically alongside the Westphalian system, which established the principle of nation-state sovereignty after 1648. For a long time, international politics was grounded in the logic of the territorial state, the balance of power, and diplomatic relations. However, the twentieth century—marked by two world wars—demonstrated the limitations of this model. In response to the scale of global conflicts, international institutions were established—such as the United Nations, the International Monetary Fund, the World Bank, and other organizations—aiming to coordinate global order and mitigate the risk of systemic crises. These processes spurred new theoretical interpretations regarding the structure of the global system. Immanuel Wallerstein’s world-systems theory revealed that the modern global economy operates as a unified core-periphery system, in which inequality is not an accidental phenomenon but a structural feature of the capitalist order. Meanwhile, in his analysis of the risk society, Ulrich Beck argued that modernity itself generates global risks that transcend the control of nation-states. Climate crises, pandemics, financial shocks, and cyber threats are becoming phenomena that cannot be addressed at the level of a single state. In this context, globalization emerges as a process that diminishes the significance of geographical boundaries and transforms social ties. Anthony Giddens defines it as a "compression of time-space," wherein individuals' lives become dependent on systems and processes operating beyond their direct control. Consequently, the "New World Order" can be understood not as a project managed by a single center, but as an emergent system arising from a multitude of decentralized processes—financial networks, technological platforms, algorithmic governance systems, and the global circulation of information. Manuel Castells’ concept of the network society aligns with this interpretation; in it, power is no longer concentrated in a single political center but is distributed among international institutions, digital corporations, financial markets, technological infrastructures, and communication networks. Such a system becomes complex, fragmented, and difficult to comprehend through the traditional categories of political theory. Michel Foucault’s concept of biopolitics provides a valuable theoretical tool for analyzing this transformation. Foucault argued that modern power relies less and less on direct coercion and increasingly on the administration of life processes: population control, health policy, statistics, the regulation of mobility, and risk management. This perspective allows us to view the "New World Order" as a specific form of governmental rationality that operates through data collection, algorithmic analysis, digital surveillance, and institutional regulatory mechanisms. At the same time, the question of the state of exception has become increasingly significant in contemporary political philosophy. Carl Schmitt defined sovereignty as the power to decide on the state of exception, yet Giorgio Agamben demonstrated that, in modern politics, the exception is increasingly becoming the norm. Following the security crises, terrorist threats, and pandemic situations of the early 21st century, states have acquired unprecedented powers of surveillance and control.
Language: Lithuanian
ISBN 978-609-8349-70-2
Naujo mokslo meno filosofijos genezė: Tomo Lagūnavičiaus teorijos ir praktikos virsmas
Since antiquity, the philosophical tradition has sought to understand human experience, creativity, and knowledge as interconnected realms. In examining the nature of art, Plato argued that art is imitation (*mimesis*)—that is, it reflects reality while simultaneously distancing us from the truth (Plato, *Republic*, Book X). Aristotle expanded upon this perspective by highlighting the emotional nature of the aesthetic experience and its function regarding human morality and the psyche (Aristotle, *Poetics*, 335 BC). Over the centuries, philosophers and artists have continuously debated whether creativity is merely an aesthetic phenomenon or if it can also serve as a source of knowledge. The early 20th century brought new challenges and opportunities: within the context of modernism, postmodernism, and technological advancement, the boundaries between art and science were increasingly transcended. Martin Heidegger argued that art is an "event of disclosure" (*Ereignis*) that allows humans to experience truth through creativity rather than solely through logic (Heidegger, *Poetry, Language, Thought*, 1971). In his *Critique of Pure Reason* and *Critique of Judgment*, Immanuel Kant elucidated the autonomy of aesthetic experience and its epistemic value (Kant, *Critique of Judgment*, 1790). These ideas laid the foundation for contemporary attempts to integrate the methods of art and science. The New Science-Art (NMM) style, pioneered and founded by Tomas Lagūnavičius, is distinguished by its aim to integrate scientific methodology with the creative process. Lagūnavičius asserts that "creativity is not merely an aesthetic act; it is an epistemic activity that generates knowledge just as reliably as a scientific hypothesis" (Lagūnavičius, 2024, p. 45). This claim raises new questions regarding the relationship between art and science: can creativity serve as a systematic tool for acquiring knowledge? Can science be interpreted aesthetically without being confined to traditional methodologies? T. Lagūnavičius’s philosophical stance rests on several key principles: 1. The synthesis of empirical and aesthetic experience—creativity must be grounded in observation and analysis rather than intuition alone. 2. Methodological innovation—new NMM methods enable experimentation with conceptual and technological solutions, thereby expanding the traditional boundaries of art and science. 3. Epistemological creativity—the creative process itself becomes a source of knowledge, rather than merely a means of communication. As Lyotard states, in the postmodern condition, "knowledge is no longer universal; it is fragmented, performative, and context-dependent" (Lyotard, 1984). In the context of the New Science-Art, this fragmentation becomes a creative tool: in Lagūnavičius’s practice, various experimental methods (both empirical and conceptual) are transformed into aesthetic solutions that themselves reveal new knowledge.
Language: Lithuanian
ISBN 978-609-8349-54-2
The philosophy of moral idiocy
Modern society increasingly faces a paradoxical situation: individuals are capable of rational thought, planning, effective action, and adaptation to complex social systems, yet simultaneously lose the ability to reflect on the moral consequences of their actions. Technological progress, consumer culture, and constant information overload have created an environment where rationality often becomes detached from ethics. In this context, a phenomenon emerges that this book defines as "moral idiocy"—a state in which a person remains intellectually functional yet becomes morally insensitive. Moral idiocy is not merely a consequence of a lack of education or intellect; on the contrary, it can manifest in a highly educated, socially successful, and technologically advanced society. It is a state where moral judgment degrades not due to a lack of rationality, but because of a loss of reflection, responsibility, and consistency in values. Individuals begin to act automatically: they conform to social norms, follow collective impulses, and choose emotional comfort over moral principles, while delegating responsibility to systems, institutions, or "generally accepted rules." This problem has deep philosophical roots. Immanuel Kant regarded a universal principle of reason as the foundation of morality, arguing that one must act in such a way that the maxim of one’s behavior could become a universal law. According to Kant, morality cannot be grounded solely in emotions, utility, or social pressure; it requires internal consistency and a sense of duty. Yet, in contemporary culture, this principle is increasingly supplanted by situational thinking, wherein morality becomes contingent upon circumstances, emotional states, or social convenience. Hannah Arendt highlighted the issue of moral blindness even more starkly through her analysis of the Nazi bureaucracy and her formulation of the concept of the "banality of evil." She argued that the greatest evil often stems not from deliberate cruelty but from a lack of thought—an inability to critically reflect on one’s actions and their consequences. This insight serves as a key philosophical pillar for the concept of moral idiocy: an individual can be rational, productive, and socially functional, yet simultaneously morally blind. Friedrich Nietzsche criticized traditional morality as a social construct, paving the way for the notion of moral relativism. His idea that there are no moral phenomena, only interpretations of them, eventually contributed to a worldview in which values become fragmented and unstable. In the twenty-first century, this trend often evolves into value nihilism—a state in which a person not only ceases to believe in universal values but also loses the need to reflect upon them.
Language: Lithuanian
ISBN 978-609-8349-74-0
Artistic Ontology and Aesthetics: Philosophical Reflections on Tomas Lagūnavičius and the New Network Art Style
Throughout history, art has been not only a form of creative expression but also a distinctive way of reflecting on existence. Artistic ontology and aesthetics allow us to raise questions about the nature of the artwork, its mode of existence, and the relationship it establishes with the viewer and the world. In contemporary culture, these questions have gained new urgency as traditional artistic boundaries dissolve and new technologies and network structures transform the very concept of creativity. This book of philosophical reflections focuses on the work of Tomas Lagūnavičius and the "New Network Art" style he has developed. It is a phenomenon that transcends classical art categories and offers a fresh perspective on the ontological status of the artwork. Here, network logic functions not merely as a formal structure but as a mode of thought in which the artwork is perceived as a constantly changing whole, taking shape through relationships. From an aesthetic standpoint, the "New Network Art" style raises questions regarding the transformation of beauty, harmony, and experience within a digital and global context. Can aesthetic experience still be defined by traditional categories, or is it becoming fragmented, polyphonic, and dependent on network interactions? The work of T. Lagūnavičius prompts a rethinking of these concepts, proposing an aesthetic grounded in connections, processes, and dynamic structures. This book seeks not only to present a specific artistic phenomenon but also to open up a broader philosophical realm in which art becomes a form of inquiry into existence. An analysis of the principles of "New Network Art" reveals deeper ontological insights into the contemporary individual's relationship with reality, technology, and the act of creation itself. It is an invitation to conceive of art not as a closed object, but as a living, constantly evolving structure where ideas, experiences, and meanings intersect.
Language: Lithuanian
ISBN 978-609-8349-60-3
Theory and Practice of Post-Process Theatre
As a living and constantly evolving field of art, theatre has throughout its history borne witness to a persistent tension between tradition and innovation. From classical drama—grounded in Aristotelian concepts of plot, character, and mimetic representation—to contemporary performative practices, theatre has undergone fundamental transformations that have altered not only its form but also its very ontological nature. The processes of post-dramatic theatre that emerged in the late 20th and early 21st centuries—conceptualized by Hans-Thies Lehmann—opened up new possibilities for theatre to exist beyond the confines of traditional narrative, emphasizing action, experience, and spectator engagement as key creative elements. In this context, the concept of "post-process theatre" developed by Tomas Lagūnavičius marks a further shift in theatrical thinking: from result to process, from representation to event, and from a closed work structure to an open, fluid, and relational system. Post-process theatre not only adopts the principles of post-dramatic theatre but also radicalizes them, proposing a new paradigm of theatrical understanding in which the work exists not as a finished object, but as a continuous interaction among diverse elements: body, space, time, spectator, and context. The monograph *Theory and Practice of Post-Process Theatre* aims to systematically elucidate the theoretical foundations and practical implications of this concept. It analyzes the types of theatre formulated by Lagūnavičius—such as morphological and post-simultaneous theatre, among others—as alternative forms of theatrical organization that expand the boundaries of theatre as an art form and transcend disciplinary definitions. These types are understood not as closed categories, but as dynamic structures that enable the creation of new relationships between stage and spectator, and between action and its perception. A significant portion of the book is dedicated to rethinking the role of the spectator. In post-process theatre, the spectator is no longer a passive observer or interpreter; instead, they become an active participant, co-creating meaning alongside the performance. Thus, theatre transforms into a space of co-creation where every event is unique and unrepeatable, and meaning emerges not from a pre-established structure, but from the unfolding process itself. This monograph invites readers not only to explore the theory of post-process theatre but also to reconsider the very essence of theatre: what theatre is today, what boundaries it transcends, and what new forms of experience it can offer. It is an attempt not merely to describe a new theatrical direction, but to situate it within the broader discourse of contemporary culture and art—a realm where processuality, openness, and participation have become fundamental conditions of creativity.
Language: Lithuanian
ISBN 978-609-8349-46-7
183 New Philosophical Concepts for Everyday Life
To better understand the world and operate successfully within it, we must forecast the near future. What will be relevant in the near future? 1. The matrix structure of organizations will continue to expand. There will be no single center of command; people will operate in small groups, constantly shifting contacts and moving from one group to another. 2. The individual will be understood as a matrix structure containing multiple "selves"—various types of thinking, emotions, behavioral patterns, and algorithms—that may contradict or conflict with one another. The concept of the "multiple self" will encompass unconscious, conscious, and subconscious aspects. Significant attention will be paid not only to psychological and physical traumas experienced but also to victories, which likewise alter how we function. 3. Allocating attention, time, and human resources to achieve set goals will become increasingly complex. 4. Motivating oneself and acting based on clear values—understanding what justifies sacrificing or dedicating one's life—will become more difficult. 5. We will need to learn how to learn and relearn quickly. It will be necessary to develop skills that facilitate the rapid structuring and assimilation of information. 6. Some people will face challenges with social integration, as societal changes are occurring so rapidly that they simply do not know how to conduct themselves. In this way, they lose social connections and opportunities to realize their plans—assuming, of course, that they have any. 7. It will become crucial not only to rapidly acquire knowledge but also to develop new skills as quickly as possible in order to function successfully in new workplaces, social environments, and so on. Possessing knowledge is not enough; one must know how to put it into practice. 8. The problem of asocial behavior will intensify. Decriminalizing and de-pathologizing human behavior does not make the problem of asocial behavior disappear. If a person uses drugs in public, is unemployed, steals, causes social discomfort for local residents, litters, relieves themselves outdoors, etc.—we can call this whatever we like, but it still causes discomfort to the vast majority. Can asocial minorities dictate terms to the socialized majority? And so on.
Philosophers, sociologists, economists, and psychologists are attempting to address the aforementioned issues—and many others—by seeking conceptual and practical answers on how to function in present and future society. Therefore, I would like to present 90 philosophical concepts that will help you survive and understand everyday life. Having lived through four eras of modernism and postmodernism—namely, enthusiasm and disillusionment, construction and deconstruction, hope and disappointment—we are now stepping into a new era. What is it like? I will attempt to provide an answer in this book. The book is divided into 49 chapters: ontology, epistemology, ethics, aesthetics, philosophical anthropology, social philosophy, philosophy of language, philosophy of culture, and aesthetics I. Each chapter introduces new or modified philosophical concepts that I believe are suited to the 21st century. Every era possesses its own system of concepts—some explaining the phenomena and objects of that time better than others. The concepts presented here represent merely my personal understanding of how the questions, problems, phenomena, and objects emerging in the 21st century should be interpreted. I imagine another author might choose entirely different concepts and terms. As a subjective realist (currently writing this book), I find the subjective realism of others—their texts, concepts, and reflections—entirely acceptable. Therefore, I make no claim to absolute truth; I simply wish to express my own subjective perception of the world.
Language: Lithuanian, English
ISBN 978-609-8349-18-4
50 tips for surviving extreme situations
This book explores measures to prevent the onset of negative psychological states that could impair performance efficiency in extreme situations. It offers practical advice on managing one’s psychological state through techniques such as self-analysis, body therapy, and the management of sensations, thoughts, and emotions. The book is structured so that each page presents a specific tip for maintaining a positive state of mind during extreme situations. Don’t waste time—start not only reading but also putting these methods into practice.
Language: Lithuanian, English
ISBN 978-609-8349-27-6
60 Steps to Becoming a Post-Hedonist
Keičiantis santvarkoms, esant krizėms ir pandemijoms žmonės išgyvena nestabilumo jausmą ir į tai reaguoja įvairiais būdais, pavyzdžiui, keičia elgesį, išgyvena neigiamas arba teigiamas emocijas, keičia gyvenimo scenarijus. Filosofai taip pat siūlo įvairius reagavimo būdus estetikos ir etikos lygmenyje ir vienas iš būdų yra hedonizmas. Tai yra vartojimas su tikslu pasiekti laimę, patirti kiek galima daugiau malonių išgyvenimų. Tačiau ši koncepcija šiuo metu yra dar pakankamai koreliuojama su krikščionišku negatyvizmu, kuris teigia, kad vartojimas nėra gerai ir reikia būti asketišku, minimalistišku, neturi būti jokios pompastikos ar noro išsiskirti. Tai yra netiesioginis kvietimas gyventi stoikišką, asketišką gyvenimo būdą ir negalima neigti, kad neostoicizmas yra pakankamai populiarius. Tačiau norisi aptarti posthedonistinę koncepciją. Kas joje naujo? Tai yra grįžimas prie pirminio hedonizmo jį dar labiau radikalizuojant. Posthedonizmas tai nėra sakymas, kad “man patinka vartoti“, verčiau tai skamba kaip “man patinka vartoti ir aš netgi tuo didžiuojuosi”. Posthedonizmas nėra racionalus, o posthedonistas nėra ribotas. Posthedonistui vis negana ir jis visada nori turėti daugiau; tai yra posthedonisto moto. Tai suteikia posthedonistui tobulėjimo kelią. Jis galės vartoti iki mirties ir net mirdamas galės užsakyti pačias gražiausias savo laidotuves, pavyzdžiui, su 30 arklių ar 15 Jaguar automobilių. Tai atrodo ne itin racionaliai, bet ar faraonų laidotuvės buvo racionalios, kai jiems vergai statė piramides?
Posthedonizme nėra jokio racionalumo. Jis absoliučiai iracionalus ir žavus tuo, kad jame nėra ribų. Ši tezė galioja ir pažinimo srityse, pavyzdžiui, žmogus neturi apsiriboti tik savo profesinėmis žiniomis, savo kelionėmis tik į vieną šalį. Vartojimas gali būti esminė ir vienintelė teisinga filosofinė koncepcija gyvenant čia ir dabar, nes jeigu žmogus gyvena čia ir dabar, tai visi jo pojūčiai, rega, klausa, skonis, lietimas, veikia labai gerai. Taigi kodėl nepasinaudoti pojūčių teikiamais malonumais? Pavyzdžiui, kodėl nenueiti į naują spektaklį, kodėl nepavalgyti skanių pietų, kodėl nepauostyti naujų kvepalų, kodėl nepatirti seksualinių malonumų? Kas tame yra blogo? Tai buvimas čia ir dabar, bet buvimas ne stebėtojo, kaip sako stoikai, o dalyvio pozicijoje. Gyvenime reikia dalyvauti, o nes stebėti jį iš šono. Tik taip atsiras prasmė socializuotis, nes žmogus supras dėl ko tą daro. Tik sociumas gali sukurti spektaklį kuriame dalyvauja 15-20 žmonių; tik dirbant žmogus gali gauti pakankamai pajamų, kad galėtų nusipirkti Hamerį. Tačiau darbas nelygu darbui.
Kalba: lietuvių, anglų
ISBN 978-609-8349-29-0
The Superfluous Human: A Philosophy of the Human Place in the Era of AI and Robot Dominance
The 21st century may become the first era in human history when human intellect loses its economic monopoly. While previous technological revolutions fundamentally transformed human physical power—shifting labor from muscles to machines—the artificial intelligence revolution challenges the very status of the mind. This transformation is not merely a matter of labor markets or productivity; it touches upon the deepest layers of our self-conception. It is an ontological crisis: what does it mean to be human in a world where we are no longer indispensable thinkers?
In this book, the concept of the "useless human" does not imply biological extinction or a physical threat to humanity. It points to a different, more subtle process—one of social, economic, and ultimately existential marginalization. A human being may remain alive yet lose their role as an essential part of civilization. It is a state in which the individual is no longer needed by the system—neither as a creator, nor as a decision-maker, nor even as a meaningful participant.
The shadow of such a possibility was already foreseen in 19th-century philosophy, which contemplated the devaluation of the human being in the face of industrialization. Yet, only today are these ideas acquiring a tangible technological foundation. Artificial intelligence is already capable of creating texts, diagnosing diseases, designing drugs, analyzing legal systems, and generating strategic decisions. These are domains that were long considered exclusively human.
In this context, the human role is beginning to shift. From a creator, the human gradually becomes an observer; from a decision-maker, a part of a process whose importance is no longer taken for granted. This compels us to revisit a fundamental question: has human value in civilization always been tied to utility?
If the answer is yes, then we must acknowledge that the era of human dominance is drawing to a close. However, if value cannot be reduced to function or productivity, then we stand on the threshold of a new philosophy—one that must redefine the human place in a world where humanity is no longer essential, yet can still be meaningful.
Language: Lithuanian
Post-Mindfulness:
The Philosophy of a New Era of Consciousness
We live in times when mindfulness has become not only a tool for personal development but also a cultural phenomenon. Practices once considered niche or spiritual are now being integrated into education, business, medicine, and everyday life. Yet, this surge in popularity has also highlighted certain limitations: is traditional mindfulness truly sufficient for the modern individual living amidst information overload, technological dependence, and constant change?
This book invites you to take the next step—into the era of post-mindfulness. This is not a rejection of mindfulness, but a move beyond it. Post-mindfulness offers a broader, more dynamic approach to consciousness, where attention is no longer merely the observation of the present moment but becomes an active engagement with reality—one that is critical, creative, and reflective.
Post-mindfulness emerges where traditional practices encounter the complexities of the modern world. It seeks to answer questions that mindfulness often sidesteps: how does awareness function in the context of technology? How can we maintain authenticity in an environment driven by algorithms? Is observation enough, or is action also required?
In this book, we will explore the transformation of mindfulness—from an individual practice to a collective one, from passive observation to conscious participation. Post-mindfulness is neither a method nor a technique. This is a way of thinking that combines philosophy, psychology, and cultural criticism, aiming to forge a new relationship with oneself and the world.
This book is for those already familiar with the practice of mindfulness but who feel it is no longer enough. For those seeking a deeper understanding and a bolder engagement with reality. And for those who realize that mindfulness is not merely about tranquility—it is also about responsibility.
Welcome to post-mindfulness.
Language: Lithuanian
Psychological counseling systems
and methodologies
Tomas Lagūnavičius holds a doctorate in social sciences and is a psychologist, lecturer, consultant, and author. He is known for his work in the fields of psychology, education, and personal development, as well as for his focus on themes of social self-actualization and creative psychology. Lagūnavičius actively participates in public events and media projects, discussing various psychological issues—ranging from the perception of the individual "self" to the analysis of social relationships and life scripts.
Psychological counseling practice has undergone significant changes over the past few decades. Initially, it relied on individual psychotherapy methods developed by figures such as Freud (1900), Jung (1921), and Adler (1927). Later, counseling gradually began to integrate social, economic, and cultural aspects. Consequently, the focus shifted from mere symptom reduction to holistic personal development. The modern counseling paradigm is based on a holistic approach in which an individual's psychological well-being is closely linked to their social environment and life context (Rogers, 1961; Corey, 2016).
One of the most important transformations in this field is the integration of systemic and social psychology into counseling practice. This makes it possible not only to identify individual psychological difficulties but also to analyze their causes within a broader social and economic context (Bronfenbrenner, 1979). Consequently, counseling methods have become more complex and can simultaneously address both individual and social processes.
Language: Lithuanian
ISBN 978-609-8349-44-3
Post-conceptual Art and Metatheoretical Practice:
The Ontology of Interdisciplinary Creation in Contemporary Art Discourses
21st-century contemporary art theory increasingly grapples with the question of the artwork's ontological status. The traditional conception of art as an object is fading, giving way to a process-oriented, situational, and discursive understanding of creative practice. This transformation is inextricably linked to the legacy of conceptualism, the development of the philosophy of performativity, socially engaged art practices, and institutional critique strategies—all of which expand the boundaries and functions of art.
This book examines the work of Tomas Lagūnavičius as a post-conceptual, meta-theoretical practice in which art is understood not merely as an aesthetic object but as a reflexive method of knowledge production. The categories he develops—the post-cynical text, the post-pragmatic text, the post-conceptual text, and post-post-utilitarian art—offer a means to interpret the state of contemporary art in the wake of conceptualism and relational aesthetics, revealing creative horizons that are dynamic, interdisciplinary, and reflexive.
The book aims not only to define the contours of post-conceptual art but also to demonstrate how art can serve as a critical instrument of knowledge, operating within both the theoretical and practical realms of the art world. In doing so, the practices under discussion reveal shifts in the ontology of art and provide a foundation for further discourse regarding the meaning and transformation of creative processes in contemporary thought.
Language: Lithuanian, English
ISBN 978-609-8349-45-0