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Celem tekstu jest analiza działań Leopolda Tyrmanda związanych z popularyzacją muzyki jazzowej w komunistycznej Polsce. Pisarz wykorzystywał rodzącą się w kraju modę na ten gatunek muzyki do stworzenia mitu jazzmana jako osoby działającej w opozycji do systemu, a zarazem jako artysty prześladowanego przez władzę. W artykule scharakteryzowano udział pisarza w tworzeniu i konsolidacji tzw. wspólnoty jazzowej, która w Polsce lat 50. stała się synonimem wyrafinowania i elitarności. W kontekście prowadzonych analiz Tyrmand, autor pierwszej w powojennej Polsce książki na temat jazzu, przedstawiony został jako osoba, która nie tylko potrafiła skutecznie przekonywać rodzimą publiczność do tego, czym jest jazz jako zjawisko społecznokulturowe, ale także jak można posługiwać się swoistym “kodem jazzowym” po to, by przeciwstawiać się autorytarnemu systemowi. The purpose of this text is to analyze Leopold Tyrmand’s activities connected with popularizing jazz in communist Poland. The writer used the burgeoning fashion for that genre of music to create the myth of a jazzman as simultaneously a person opposing the system and an artist persecuted by the authorities. This article presents the writer’s involvement in the creation and consolidation of the so-called jazz community, which became a symbol of sophistication and elitism in the 1950s in Poland. Tyrmand, the author of the first book about jazz in postwar Poland, is presented as a person who could effectively convince his audience not only about what jazz was as a sociocultural phenomenon but also how one could use a peculiar “jazz code” to oppose the authoritarian system.

This article deals with the question of how games can affect people’s future. The author claims that the main mechanism of this influence is gamification. The features of this process make it a way of preparing people to function in reality created as a result of the development of digital technologies. It is possible to indicate three main areas of the realization of this function of gamification. The first one is progressive virtualization, resulting in the disappearance of reality and multiplication of man’s ways of existence. Gamification teaches how to function in these conditions. The second is the need for constant auto-creation, resulting from the rapidly changing economic and social conditions. Gamification works well here, which can be seen, for example, when it connects with self-tracking. The third is the disappearance of the meaning of life, which is the result of devaluation of various activities in the world of constant change and technical progress satisfying more and more human needs. Here gamification works as a meaning generator, a kind of prosthesis for activities, the performance of which has already lost its external justification. These three aspects form the basis for the recognition that gamification is a kind of transhumanist program that binds human development to technological development.