BETWEEN THE QUOTE AND THE CODE IN DIGIMODERN TEXTUALITY: AN INTERPRETATION

The article examines the concept of digimodernism in the context of contemporary cultural paradigm transformation and its interrelation with the development of digital humanities. It explores the philosophical issues of interaction between traditional humanities disciplines and digital technologies, and their influence on the formation of new cultural patterns. The main focus is on a critical analysis of Alan Kirby's theory, who proclaimed digimodernism as a new cultural paradigm that has displaced postmodernism. Using the material of modern animated films ("Toy Story", "Shrek", "Soul", "Spider-Man: Into the Spider-Verse", "Arcane"), the evolution of artistic language from postmodernist citation to digimodernist algorithmicity is traced. A phenomenological analysis of digital textuality as a key element of digimodernist culture is conducted, revealing its ontological features: interactivity, processuality, algorithmic temporality, and hybrid authorship. The Kirbian thesis about a radical break between postmodernism and digimodernism is problematized; instead, the rhizomatic nature of cultural transformation is substantiated, where digimodernism appears not as a negation but as a technological hypertrophy of postmodernist practices. The research proposes new terminological constructs for the analysis of digital culture: "computational sublimity", "ontological heterogeneity", "transmedial sensibility". "technoepistemic regimes". Based on the study of animation evolution, three phases of digimodernism development are distinguished: hybridization (combining postmodernist content with digital form), algorithmization (domination of technological structures), and synthesis (complete fusion of technology with artistic practice). It is argued that digimodernism is a fundamentally different mode of cultural existence in the digital age, where digital artifacts exist in a mode of "stable potentiality". and their materiality is algorithmically determined but performatively open. It is asserted that the development of digital humanities and their integration with the philosophical understanding of digimodernism opens perspectives for creating a transdisciplinary epistemic matrix capable of producing fundamentally new forms of knowledge.