This article is focused on the poststructuralist thinking from the perspective of the ontological problems. Poststructuralism is asserted as a project of overcoming the boundaries of the previous philosophy and a break in the deadlocks of structuralism. Analysis of the key poststructuralist concepts, such as "hyperreality" and "simulation", in Baudrillard's and Derrida's redaction, allows disclosing the crossover points with Heidegger's problems of fundamental ontology. Poststructuralists approach the language as one of the orders of simulation, which enables them to interpret the "experience of Nothingness" more radically as well as to renew the question of Being at the new historical and philosophical stage. The essential task of the investigation of reality meanings in the postmodern discourse is to realize how the reality is penetrating into it. Regardless of the purposes and intentions of postmodernist philosophers, something that superficially seems to be situated out of the boarders of reality appears to be the revelation of reality as it is. Compromised in all variants of realistic, naturalistic and materialistic philosophy, ontology finds its theoretical realization exactly in the postmodern discourse, in which the concept of "reality" is always "in quotes". This is another trick of the postmodern philosophy. The pathos of postmodern analysts is to realize the consequences of one's own methodological proposals. The indifferent, superficial, or insidious glance could consider that philosophical judgments do not to have their ontological consequences. The world is logocentric; words rule the world, and they are the starting point of existential cataclysms-wars and reconciliation, happiness, and disasters.

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Contemporary artists are tempted by the latest art digital technologies. Art analysts and practitioners (artists, exhibition curators and teachers at art educational institutions) form the problematic for this contemporary culture sector. A new generation of artists integrates into the global digital art system with varying intensity; to no small extent, it is affected by the traditions forming the basis for a school. To what extent is the art education system to enter the process of formation of advance digital art competences: that is the matter of the relations between the tradition and innovation within the education system. The article compares different sources that clarify the goals and means of solving the tasks set in modern artistic practice. When analyzing motivation to create a contemporary art piece, the artist’s argumentation is of the same importance as the analysis of working programs of an artistic institution. This issue is analyzed based on the graduation project implemented by the Stieglitz Academy at St. Petersburg. The traditional theme of the Nativity performance combined with the setting created by computer technology allows the artist to implement their artistic plans by the means of modern digital technologies. The specific task of organizing the space for the traditional Nativity scene is solved by the means of digital printing; sketches are made in the computer editor program. A work of art merging the tradition and innovation refers to the so-called fundamental “tradigital” art that generally determines the boundaries of their possible interaction.

Today a completely new type of reality – «digital reality» – is being formed, which entails new challenges for individuals and society. Deep involvement in digital reality and the active use of its technical mediators creates a load on the psychophysics of the individual, which, especially in the stage of active growth, not only deforms behavioral patterns, but can also influence the formation of brain structures. Educational practices, through which society helped the individual to form their identity, lose their former certainty in the digital dimension. As a response to these challenges at the turn of the XX-XXI centuries, the concept of information hygiene was formed within the medical sciences, describing ways to minimize the destructive effects of the information environment. However, developed for a narrow field, this concept does not take into account the fact that psychophysical transformations under the influence of destructive influences of modern media threaten to destroy the basic constants of the human body. Positivist medicine, due to the specificity of its subject, does not see the eschatological horizon of the problem, on which the contours of our «posthuman future» are already clearly outlined. At this point, philosophy can and should recall that at the dawn of European civilization, medicine was inseparably an ethical program: a single set of practices – ascetic, hygienic, and mental-aimed not only at minimizing destructive influences but also at discovering and cultivating the individual's own humanity. Thus, in this article, the concept of information hygiene is thematized taking into account its historical and philosophical implications. On the one hand, it is intended to reflect the current specifics of the challenges, on the other – to take into account the experience of preventing destructive influences, practiced by late-antique philosophers in the status of «healers of the soul». For the empirical verification of this concept, the authors performed the following experiment. A group of first-year students were asked to spend a day without the Internet and describe their feelings and thoughts. The analysis of spontaneous ways to overcome deep involvement in digital reality allowed us to identify the most adequate forms of minimizing its destructive influences: avoidance of active leisure in the real world. These forms were in tune with the late-antique practices of self-care in the editorial office of the Epicurean school. This broader ethical consideration of information hygiene opens the way for theming a comprehensive approach to the problem of human survival in the face of digital reality