Information societies effectively transform existing cultures. New cultures are variously defined, but because of the fact that they are dominated by information, the term “data cultures” seems to be the most relevant name for them. Although, it is possible to create a single global data culture in the future and such predictions prevail in academic and non-academic reflections on this subject, so far in addition to global trends there occur local data cultures, what also dynamizes and enriches both individual and collective identities. As Kazimierz Krzysztofek aptly notes, in this situation: "The greatest contradiction of the civilization of the 21st century is drawn. On the one hand, a continuous imperative: be creative and innovative, on the other hand, an increasing pressure on prediction of people’s behaviour, because unpredictability causes chaos, which cannot be managed". In other words, one of the most important social issues today is to create some order in data culture / cultures (often pictured by columnists and researchers as a "magnetic storm"), to reduce its / their infinite complexity, i.e. simply the algorithmization process. With regard to culture, it is not possible to use unequivocally a mathematical algorithm that is the most precise, or a genetic or hormonal algorithm that functions in nature, because accustoming cultural chaos is always strongly ideologized. The algorithm should be treated as a metaphor used to explain cultural phenomena, especially their developmental tendencies. For the researcher of contemporary societies, it is very important to answer the question: what proportions of structure and network are the most beneficial for the survival of data culture / cultures? This answer also directs reflection on the quality of life of individuals and societies, limiting or promoting individualism and collective intelligence in the era of hyper-digitization. These considerations are limited to the initial characterization and evaluation of the information algorithmization of man. The author of the study refers to the concepts of researchers from different countries, highlighting the specificity of today's algorithmization, among others the model of ambient perception, which facilitates participation in the networked information environment, scope and reach of the big data phenomenon, forms of data visualization, personalization of content, Isotype visual language, network custody, data journalism and others. In conclusion, it is pointed out that the information algorithmization of man is constantly growing, which proves that data management strategies weaken the phenomenon of information overload through the logic of numerical civilization, which limits diversity, seeking to count, record and globalize everything.

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The assumption was made that in the epoch defined as technopoly or techno-everydayness, in which almost every person is physically or mentally supported by technology, or is simply "improved" with the help of it (socalled Human enhancement), the sense of anthropological uncertainty appears to be more and more common. This was often emphasized by Jean Baudrillard, the author of the concept of the "disappearance of reality", proclaiming that the real world is replaced by simulacra: "Am I finally a human or a machine?" -he was asking and then answering in the following way -"Today the answer to this question no longer exists: I am a human being in real and subjective terms, but virtually and from a practical point of view I am a machine ". Even if his position is considered too radical, one cannot ignore or diminish the importance of the impact of high technology on the physical, and especially the mental condition of the users of everyday media. These considerations have focused on the educational implications of this impact, recognizing that young internet and smartphones users are more exposed to the effects of a sense of anthropological uncertainty than adults, and hence they require strong support in this area from pedagogical theories, and above all from pedagogical practices. Presentation of the current research findings in this area creates an opportunity to define the scope and program of modern media education, which has been called education for information freedom and information activism. Such a pedagogical concept is based on popularizing, teaching and shaping a positive attitude of young people towards the Internet and technological gadgets, which is based on the conscious observance of the principles of "information hygiene", and the supreme principle in this case is self-limitation. That is why the state of anthropological uncertainty is one of the most difficult challenges imposed by techno-everydayness that school and non-school education has to accustom with.

ANDRZEJ WAJDA'S DUTIES TO THE AUDIENCE (OSCAR 2000) You may think about cinema whatever you wish but there is one thing, dear colleagues, that you must not do : to disregard the audience.Andrzej Wajda's to the students of State Film School in Lodz)(1) WHENEVER the principal values in the post-war Polish cinema are being spoken or written about, Andrzej Wajda and his work are being mentioned long before the names and output of other directors. The complicated history of Polish culture, the national style in art and the never ending conversations of the Polish people about the unjust history and difficult contemporary times are closely tied with Andrzej Wajda. He made a name for himself, first of all, because of his contribution in lifting cinema to the status of an art that speaks about current Polish and international problems. He is the author of an...

En el artículo se presenta la historia del cine polaco de largo metraje después de la transformación político- económica, por motivo de la cual el dominio total de la vida por la ideología fue reemplazado por los mecanismos del mercado libre, lo que llevó a un cambio radical en las estrategias de los directores de cine. Las estrategias de los agitadores, de los mediadores, de los sicoterapeutas, de los solitarios, de los moralizadores y de los contestatarios, las cuales dominaban anteriormente, fueron reemplazadas por las estrategias de los “contadores” (los que ajustaban cuentas con el cine de los años 1945-1989), de los cínicos (en el llamado cine de “bandidos”), de los cuentistas (en el llamado cine de provincia) y la estrategia de los observadores de la tranformación del régimen. Según la opinión del autor de este artículo el nuevo cine polaco sólo se mantiene, se desarrolla lentamente porque ni trabaja creativamente la realidad, ni formó la identidad y originalidad a la altura de lo que esperaban y aspiraban los polacos, los cuales ansían activamente tomar parte en la comunicación multicultural y enriquecer la cultura global con los valores nacionales y locales.