Pub Date : 2023-06-01DOI: 10.7256/2454-0625.2023.6.40810
Bingxian U
The object of the study is contemporary works of public art installed in Russia and Europe. The subject of the study is the development trends of various forms of Western and Russian public art in its relationship with the urban environment. The purpose of the article is to analyze public art projects presented in the USA, Western Europe and Russia, determining their place in the urban space and their impact on public consciousness. Since this study is interdisciplinary in nature, its methodology involves the use of an integrated approach. In the work on the article, the methods of modern art history were used, aimed at theoretical and art criticism understanding of the period of development of the public art phenomenon. One of the key research methods was a sociocultural analysis, in which the author of the article examines the features of the relationship between Western and Russian public art works with the urban environment, revealing the patterns of their historical development and the reasons for their actualization in the space of a modern city. The semiotic method made it possible to interpret public art objects in terms of their meanings and cultural patterns, which are significant for the construction of urban space. The research materials have theoretical and practical significance and can be used in the preparation of lecture courses, scientific research, publication of materials for art historians, cultural experts, historians and philosophers involved in the study of the phenomenon of public art. Considering public art in a historical and cultural context using the works of American, European and Russian artists as an example, he proves that art objects installed in city blocks are part of the modern urban environment and, having fit into the broad context of visual art, coexist in union with urban design and national the specifics of the region. But if public art in the West tries to solve the material problems of citizens, then Russian artists working in the style of public art strive to create an atmosphere of intellectual development and emotional experience.
{"title":"Public art as a sociological phenomenon of the urban artistic environment","authors":"Bingxian U","doi":"10.7256/2454-0625.2023.6.40810","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.6.40810","url":null,"abstract":"\u0000 The object of the study is contemporary works of public art installed in Russia and Europe. The subject of the study is the development trends of various forms of Western and Russian public art in its relationship with the urban environment. The purpose of the article is to analyze public art projects presented in the USA, Western Europe and Russia, determining their place in the urban space and their impact on public consciousness. Since this study is interdisciplinary in nature, its methodology involves the use of an integrated approach. In the work on the article, the methods of modern art history were used, aimed at theoretical and art criticism understanding of the period of development of the public art phenomenon. One of the key research methods was a sociocultural analysis, in which the author of the article examines the features of the relationship between Western and Russian public art works with the urban environment, revealing the patterns of their historical development and the reasons for their actualization in the space of a modern city. The semiotic method made it possible to interpret public art objects in terms of their meanings and cultural patterns, which are significant for the construction of urban space. The research materials have theoretical and practical significance and can be used in the preparation of lecture courses, scientific research, publication of materials for art historians, cultural experts, historians and philosophers involved in the study of the phenomenon of public art. Considering public art in a historical and cultural context using the works of American, European and Russian artists as an example, he proves that art objects installed in city blocks are part of the modern urban environment and, having fit into the broad context of visual art, coexist in union with urban design and national the specifics of the region. But if public art in the West tries to solve the material problems of citizens, then Russian artists working in the style of public art strive to create an atmosphere of intellectual development and emotional experience.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132447278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.37762
M. Demidova
The object of the research of the article is an actual topic for a modern designer – the forms of representation of a sound/musical image by visual expressive means. The subject of the study are examples of information and accompanying materials developed for cultural events related to music. The projects of contemporary authors Duan Zhihua and Rocio Galarza (Rocío Galarza) are analyzed. The purpose of the work is to consider the specifics of creating a visual image of a musical/sound composition, as well as the design approach of conducting project work on creating a composition in which visual and sound contexts form a structural unity. The research method in this work consists in applying an analytical approach to the analysis of design projects dedicated to music, which is based on the synthesis of iconographic and semantic analysis of compositional solutions, and can be used in the design, research and educational activities of the designer. The scientific novelty of the research lies in the introduction of new empirical material into circulation, in which the creation of a project compositional form is considered as the creation of a communicative system based on the combination of expressive means encoding information about visual and sound content. The study showed that the musical image perceived, as a rule, through the performer, in creating its visual equivalent implies its interpretation by the designer. The analysis of the projects of modern designers posted on the web confirmed that in a visual image that carries information about a musical and artistic event, visual and sound contexts form a structural unity, becoming a unique subject for study, contributing to the development and improvement of design methods. In the works of modern designers Duan Zhihua and Rocio Galarza, there is a desire to develop compositions that differ in an easily readable semantic connection of artistic and expressive elements with a broad socio-cultural context.
{"title":"Art in design. The specifics of creating a visual image of a musical and artistic event","authors":"M. Demidova","doi":"10.7256/2454-0625.2023.5.37762","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.37762","url":null,"abstract":"\u0000 The object of the research of the article is an actual topic for a modern designer – the forms of representation of a sound/musical image by visual expressive means. The subject of the study are examples of information and accompanying materials developed for cultural events related to music. The projects of contemporary authors Duan Zhihua and Rocio Galarza (Rocío Galarza) are analyzed. The purpose of the work is to consider the specifics of creating a visual image of a musical/sound composition, as well as the design approach of conducting project work on creating a composition in which visual and sound contexts form a structural unity. The research method in this work consists in applying an analytical approach to the analysis of design projects dedicated to music, which is based on the synthesis of iconographic and semantic analysis of compositional solutions, and can be used in the design, research and educational activities of the designer. The scientific novelty of the research lies in the introduction of new empirical material into circulation, in which the creation of a project compositional form is considered as the creation of a communicative system based on the combination of expressive means encoding information about visual and sound content. The study showed that the musical image perceived, as a rule, through the performer, in creating its visual equivalent implies its interpretation by the designer. The analysis of the projects of modern designers posted on the web confirmed that in a visual image that carries information about a musical and artistic event, visual and sound contexts form a structural unity, becoming a unique subject for study, contributing to the development and improvement of design methods. In the works of modern designers Duan Zhihua and Rocio Galarza, there is a desire to develop compositions that differ in an easily readable semantic connection of artistic and expressive elements with a broad socio-cultural context.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"234 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114206214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.40716
Elena Romanovna Kotliar, Vladimir Aleksandrovich Khlevnoi
The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are: 1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity. 2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way "from the Varangians to the Greeks" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions. 3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style. The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.
{"title":"The Spanish-Moorish Mudekhar code in the Crimean cultural landscape","authors":"Elena Romanovna Kotliar, Vladimir Aleksandrovich Khlevnoi","doi":"10.7256/2454-0625.2023.5.40716","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.40716","url":null,"abstract":"\u0000 The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are: 1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity. 2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way \"from the Varangians to the Greeks\" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions. 3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style. The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"102 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123166042","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.40737
M. Ratko
This article is devoted to the study of the ancient Balinese temple Pura Luhur Uluwatu, which belongs to the circle of the six most revered sanctuaries of the island (Sad Kahyangan). The purpose of the article is to analyze the features of the spatial organization of the temple complex, the main types of structures on its territory, the motives of sculptural decoration. Based on the methodology of the regional approach, the author pays special attention to the study of the identity of this architectural ensemble as an example of the pura public temples of South Bali. In the course of the research, the methods of compositional analysis of the planning structure of the temple, morphological, iconographic and artistic analysis of decor motifs, full-scale study of the cult object and others were used. The scientific novelty of the article is that the architectural composition and plastic decoration of Pura Luhur Uluwatu are considered for the first time in the aspect of the relationship of regional-typological and local-individual characteristics. The study also concretizes the list of architectural forms within each spatial zone of the main sanctuary and its satellite temple Pura Dalem Jurit, clarifies their structural and functional characteristics, outlines a holistic picture of the decorative decoration. As a result of the conducted research, it was concluded that Pura Luhur Uluwatu is a striking example of the sacred architecture of the southern region of the island with typological features inherent in it: variability of planning development, closeness, economical use of temple space, free interpretation of individual decorative motifs. The uniqueness of the temple is manifested in its spectacular location on the edge of a sheer cliff protruding into the ocean, the elongated plan of the main sanctuary, the contours of which repeat the outlines of the southwestern protrusion of the Bukit Peninsula, the extreme minimalism of structures and the means of decorative design used, the simplicity of architectural forms. The creative imagination of local craftsmen was reflected in the original configuration of the entrance gates Candi Bentar and Candi Kurung, as well as in the articulation of individual decorative elements (kasar mascarons, kalasa vessels, etc.).
本文致力于研究古老的巴厘岛寺庙Pura Luhur Uluwatu，它属于岛上六个最受尊敬的圣殿(Sad Kahyangan)的圈子。本文的目的是分析寺庙建筑群的空间组织特征，其领土上的主要结构类型，雕塑装饰的动机。基于区域方法的方法论，作者特别注重研究这个建筑群的身份，以南巴厘岛的pura公共寺庙为例。在研究过程中，采用了对寺庙规划结构的成分分析，对装饰图案的形态学、图像学和艺术分析，对祭祀对象的全面研究等方法。本文的科学新颖之处在于，首次从地域类型学与地方个性的关系角度来考虑普拉鲁胡尔乌鲁瓦图的建筑构成和塑料装饰。该研究还具体化了主圣殿及其附属寺庙Pura Dalem Jurit的每个空间区域内的建筑形式清单，阐明了它们的结构和功能特征，勾勒出装饰装饰的整体画面。研究结果表明，Pura Luhur Uluwatu是该岛南部地区神圣建筑的一个突出例子，具有固有的类型学特征:规划发展的可变性、封闭性、寺庙空间的经济利用、个人装饰图案的自由诠释。寺庙的独特性体现在其壮观的位置，在一个陡峭的悬崖边缘，突出到海洋，主圣所的拉长的平面，其轮廓重复武吉半岛西南突出的轮廓，极端极简主义的结构和使用的装饰设计手段，建筑形式的简单性。当地工匠的创造性想象力体现在Candi Bentar和Candi Kurung入口大门的原始配置以及单个装饰元素(kasar mascarons, kalasa容器等)的表达上。
{"title":"Pura Luhur Uluwatu Temple Complex (Bali Island): features of composition and decoration","authors":"M. Ratko","doi":"10.7256/2454-0625.2023.5.40737","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.40737","url":null,"abstract":"\u0000 This article is devoted to the study of the ancient Balinese temple Pura Luhur Uluwatu, which belongs to the circle of the six most revered sanctuaries of the island (Sad Kahyangan). The purpose of the article is to analyze the features of the spatial organization of the temple complex, the main types of structures on its territory, the motives of sculptural decoration. Based on the methodology of the regional approach, the author pays special attention to the study of the identity of this architectural ensemble as an example of the pura public temples of South Bali. In the course of the research, the methods of compositional analysis of the planning structure of the temple, morphological, iconographic and artistic analysis of decor motifs, full-scale study of the cult object and others were used. The scientific novelty of the article is that the architectural composition and plastic decoration of Pura Luhur Uluwatu are considered for the first time in the aspect of the relationship of regional-typological and local-individual characteristics. The study also concretizes the list of architectural forms within each spatial zone of the main sanctuary and its satellite temple Pura Dalem Jurit, clarifies their structural and functional characteristics, outlines a holistic picture of the decorative decoration. As a result of the conducted research, it was concluded that Pura Luhur Uluwatu is a striking example of the sacred architecture of the southern region of the island with typological features inherent in it: variability of planning development, closeness, economical use of temple space, free interpretation of individual decorative motifs. The uniqueness of the temple is manifested in its spectacular location on the edge of a sheer cliff protruding into the ocean, the elongated plan of the main sanctuary, the contours of which repeat the outlines of the southwestern protrusion of the Bukit Peninsula, the extreme minimalism of structures and the means of decorative design used, the simplicity of architectural forms. The creative imagination of local craftsmen was reflected in the original configuration of the entrance gates Candi Bentar and Candi Kurung, as well as in the articulation of individual decorative elements (kasar mascarons, kalasa vessels, etc.).\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122086165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.38241
Vasilii Aleksandrovich Avdeev
The subject of this article is subjects on the military theme in the paintings of European artists of the first half of the twentieth century.The object of the study is the stylistic and artistic features of painting by British military artists and painters of totalitarian states of the first half of the twentieth century. For the first time in domestic practice, the author offers to consider the unique phenomenon of British military painting of the First World War. She compares Italian aerofuturism, a style adopted by the fascist regime during the Second World War, which is close to her in spirit and connected with her modernist roots. The research was based on the provisions of the domestic author Igor Golomstock, who took the principle of the megamachine of the American historian and philosopher Lewis Mumford as a criterion for determining totalitarian art. The main conclusions of this study are the confirmation of the effectiveness of the Mumford formula in determining the criteria for the belonging of paintings to totalitarian art. At the same time, the considered example of English military painting, created in a democratic state, but bearing obvious features of totalitarian art, raises the question of the unambiguity of the correlation of the latter with the authoritarian form of government. The novelty of this work is the very possibility of familiarizing the domestic reader with the most interesting artistic and spiritual phenomenon - English military painting, closely related to Vorticism, the national trend of modernism, also insufficiently familiar to our public In addition, a wide range of issues related to the art history problem of identifying criteria for totalitarian art is considered
{"title":"Failed Totalitarian Art: English Military Painting of the First World War","authors":"Vasilii Aleksandrovich Avdeev","doi":"10.7256/2454-0625.2023.5.38241","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.38241","url":null,"abstract":"\u0000 The subject of this article is subjects on the military theme in the paintings of European artists of the first half of the twentieth century.The object of the study is the stylistic and artistic features of painting by British military artists and painters of totalitarian states of the first half of the twentieth century. For the first time in domestic practice, the author offers to consider the unique phenomenon of British military painting of the First World War. She compares Italian aerofuturism, a style adopted by the fascist regime during the Second World War, which is close to her in spirit and connected with her modernist roots. The research was based on the provisions of the domestic author Igor Golomstock, who took the principle of the megamachine of the American historian and philosopher Lewis Mumford as a criterion for determining totalitarian art. The main conclusions of this study are the confirmation of the effectiveness of the Mumford formula in determining the criteria for the belonging of paintings to totalitarian art. At the same time, the considered example of English military painting, created in a democratic state, but bearing obvious features of totalitarian art, raises the question of the unambiguity of the correlation of the latter with the authoritarian form of government. The novelty of this work is the very possibility of familiarizing the domestic reader with the most interesting artistic and spiritual phenomenon - English military painting, closely related to Vorticism, the national trend of modernism, also insufficiently familiar to our public In addition, a wide range of issues related to the art history problem of identifying criteria for totalitarian art is considered\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122721970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.40639
A. A. Kochieva, N. I. Biryukov
The article deals with the problems of preserving the Ossetian cultural heritage in the context of globalization. The purpose of this article is to analyze the main challenges to the Ossetian culture and practical recommendations aimed at preserving it. Special attention is given to the objects of cultural and natural heritage located in the territories of both North Ossetia-Alania and the Republic of South Ossetia. The methodology is based on a generalization of empirical data and comparative analysis related to cultural heritage in a state that does not have a generally recognized status. Particular importance is attached to a number of important documentary sources, in particular, UNESCO conventions and declarations, along with expert assessments. The novelty of the study is due to considering, indeed, for the first time, the problem of cooperation between the international organization that deals with the preservation of cultural heritage on the global scale, viz. UNESCO, and the state only partially recognized. The author comes to the conclusion that the Ossetian culture, on the whole, successfully resists the challenges of globalization: the national way of life, language and traditions are preserved despite the division of the ethnos by the Caucasus mountain range. However, there is a problem of preserving tangible cultural heritage on the territory of South Ossetia due to existing geopolitical situation that has resulted in the republic remaining underrepresented on the international platforms.
{"title":"Preservation of the Alanian cultural heritage in the context of globalization","authors":"A. A. Kochieva, N. I. Biryukov","doi":"10.7256/2454-0625.2023.5.40639","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.40639","url":null,"abstract":"\u0000 The article deals with the problems of preserving the Ossetian cultural heritage in the context of globalization. The purpose of this article is to analyze the main challenges to the Ossetian culture and practical recommendations aimed at preserving it. Special attention is given to the objects of cultural and natural heritage located in the territories of both North Ossetia-Alania and the Republic of South Ossetia. The methodology is based on a generalization of empirical data and comparative analysis related to cultural heritage in a state that does not have a generally recognized status. Particular importance is attached to a number of important documentary sources, in particular, UNESCO conventions and declarations, along with expert assessments. The novelty of the study is due to considering, indeed, for the first time, the problem of cooperation between the international organization that deals with the preservation of cultural heritage on the global scale, viz. UNESCO, and the state only partially recognized. The author comes to the conclusion that the Ossetian culture, on the whole, successfully resists the challenges of globalization: the national way of life, language and traditions are preserved despite the division of the ethnos by the Caucasus mountain range. However, there is a problem of preserving tangible cultural heritage on the territory of South Ossetia due to existing geopolitical situation that has resulted in the republic remaining underrepresented on the international platforms.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125028649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.7256/2454-0625.2023.5.40629
Evgenii Kirillovich Seleznev
The author of the work raises the question of the role of humor in the context of David Lynch's work. The author argues that the director's humor is one of the few conventional director's tools that can be categorized and studied in detail. The author explains this degree of “simplicity” of the director’s humor phenomenon by the author’s conscious strategy of introducing “known” elements into the works to establish communication with the viewer and their subsequent deconstruction to break the automatic perception and create a situation of “anxious viewing”. The author also explains the emergence of a situation of "anxiety" in Lynch's works by the fact that in the process of deconstruction the director mixes various discourses, connecting "funny" and "creepy", "known" and "unknown", "sublime" and "base". The key thesis of the work is the idea that humor, as Lynch's directorial tool, is used not only to entertain the audience or relieve them after dark scenes, but also to challenge their expectations, question classical narratives and explore taboo aspects of the human being experience. The object of the study is the cinema of David Lynch: films, series and short films of the director. The subject of the research is the phenomenon of humor in the context of David Lynch's creativity. The purpose of the work is to answer the question of how humor contributes to the processes of demythologizing a number of phenomena in American culture, deconstructing classic Hollywood narratives in the director's films and creating a sense of "anxiety" in the viewer. The novelty of the study lies in the conclusion of humor in a separate category and its separation from other strategies of the director: hyper-narratives, the process of absurdization of screen action, postmodern intertextuality.
{"title":"Humor as a deconstruction tool in the work of David Lynch","authors":"Evgenii Kirillovich Seleznev","doi":"10.7256/2454-0625.2023.5.40629","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.5.40629","url":null,"abstract":"\u0000 The author of the work raises the question of the role of humor in the context of David Lynch's work. The author argues that the director's humor is one of the few conventional director's tools that can be categorized and studied in detail. The author explains this degree of “simplicity” of the director’s humor phenomenon by the author’s conscious strategy of introducing “known” elements into the works to establish communication with the viewer and their subsequent deconstruction to break the automatic perception and create a situation of “anxious viewing”. The author also explains the emergence of a situation of \"anxiety\" in Lynch's works by the fact that in the process of deconstruction the director mixes various discourses, connecting \"funny\" and \"creepy\", \"known\" and \"unknown\", \"sublime\" and \"base\". The key thesis of the work is the idea that humor, as Lynch's directorial tool, is used not only to entertain the audience or relieve them after dark scenes, but also to challenge their expectations, question classical narratives and explore taboo aspects of the human being experience. The object of the study is the cinema of David Lynch: films, series and short films of the director. The subject of the research is the phenomenon of humor in the context of David Lynch's creativity. The purpose of the work is to answer the question of how humor contributes to the processes of demythologizing a number of phenomena in American culture, deconstructing classic Hollywood narratives in the director's films and creating a sense of \"anxiety\" in the viewer. The novelty of the study lies in the conclusion of humor in a separate category and its separation from other strategies of the director: hyper-narratives, the process of absurdization of screen action, postmodern intertextuality.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125377674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.7256/2454-0625.2023.4.40399
V. Rozin
The article describes and comments on the concept of the musical movement, the main ideas of which were formulated and substantiated by Aida Aylamazyan, psychologist and head of the Center for the Musical Movement "Heptahor". The author believes that in this case we are dealing with one of the new forms of experimental life, which in a peculiar way combines an unconventional art form (serious music and dance), a new way of life, partly opposing the established sociality, contributing to the formation of a new personality, as well as an organic symbiosis of alternative learning and self-education. The peculiarities of the practice of musical movement are characterized. The position is formulated that the musical movement demonstrates a new vital and artistic reality in which music is structured (articulated) by the dance movement, and dance is music. Two ideological turns (psychological and social) and the problem of a new anthropological synthesis, which contributed to new ideas and ideas, are considered. Aylamazyan needed an anthropological synthesis in order to comprehend the practice of the musical movement. It includes three areas of work: criticism of ballet as an example of the traditional understanding of dance and the person in it; characterization of the specifics of a new, free dance and its formation; the concept of a person who meets the practice of musical movement. The latter includes four conceptual ideas: 1) a new interpretation of the relationship between music and dance movements as two sides of one whole, 2) relates dance movements and the experience of music to the individual and partly to the dance community, 3) includes the practices of musical movement in a broader whole of culture, sociality, art, 4) interprets the practice of musical movement, including as learning and self-education processes.
{"title":"Musical movement: lifestyle, the reality of non-traditional art, the space of learning and self-education (three comments on the concept of Aida Aylamazyan)","authors":"V. Rozin","doi":"10.7256/2454-0625.2023.4.40399","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.4.40399","url":null,"abstract":"\u0000 The article describes and comments on the concept of the musical movement, the main ideas of which were formulated and substantiated by Aida Aylamazyan, psychologist and head of the Center for the Musical Movement \"Heptahor\". The author believes that in this case we are dealing with one of the new forms of experimental life, which in a peculiar way combines an unconventional art form (serious music and dance), a new way of life, partly opposing the established sociality, contributing to the formation of a new personality, as well as an organic symbiosis of alternative learning and self-education. The peculiarities of the practice of musical movement are characterized. The position is formulated that the musical movement demonstrates a new vital and artistic reality in which music is structured (articulated) by the dance movement, and dance is music. Two ideological turns (psychological and social) and the problem of a new anthropological synthesis, which contributed to new ideas and ideas, are considered. Aylamazyan needed an anthropological synthesis in order to comprehend the practice of the musical movement. It includes three areas of work: criticism of ballet as an example of the traditional understanding of dance and the person in it; characterization of the specifics of a new, free dance and its formation; the concept of a person who meets the practice of musical movement. The latter includes four conceptual ideas: 1) a new interpretation of the relationship between music and dance movements as two sides of one whole, 2) relates dance movements and the experience of music to the individual and partly to the dance community, 3) includes the practices of musical movement in a broader whole of culture, sociality, art, 4) interprets the practice of musical movement, including as learning and self-education processes.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"29 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122568223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.7256/2454-0625.2023.4.37867
V. A. Shilina
Due to the need for clustering of the tourist, cultural and museum environment, the need for scientific research among cultural scientists, museologists and other researchers has increased. The relevance of the article is due to the need for analyze cluster initiatives in the context of the transformation of individual museums into museum clusters. The object of the study is the regional museum environment. The subject of the study is the museums clusterization as a tool for the formation of a museum clusters. The purpose of the article is to study the cluster initiatives in the process of forming a museum cluster. To achieve the goal, the following tasks were defined: 1. consider the theoretical and applied aspects of the formation of cluster initiatives; 2. analyze the factors of participants' interest in creating a museum cluster; 3. identify elements that negatively affect the creation and functioning of museum clusters. General scientific research methods, such as the method of analysis and synthesis, were used in the research. The method of scientific forecasting was also applied to create cluster initiatives in the museum environment. Despite the range of published works, which belong mainly to economic scientists, there are very few studies on the introduction of cluster initiatives into the cultural environment, which necessitates further study of this area. The scientific novelty of the research consists in the analysis of cluster activities in various branches of cultural life and the presentation by the author of the specifics cluster initiatives. The article considers a cluster as a special type of business projects based on the collective actions of their participants (cluster initiative). The concept of "cluster initiative" is also defined, the main purpose and objectives of cluster initiatives are highlighted. The specifics of its use in the creation of museum clusters are considered.
{"title":"Cluster initiatives for the regional museum environment: problems and prospects","authors":"V. A. Shilina","doi":"10.7256/2454-0625.2023.4.37867","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.4.37867","url":null,"abstract":"\u0000 Due to the need for clustering of the tourist, cultural and museum environment, the need for scientific research among cultural scientists, museologists and other researchers has increased. The relevance of the article is due to the need for analyze cluster initiatives in the context of the transformation of individual museums into museum clusters. The object of the study is the regional museum environment. The subject of the study is the museums clusterization as a tool for the formation of a museum clusters. The purpose of the article is to study the cluster initiatives in the process of forming a museum cluster. To achieve the goal, the following tasks were defined: 1. consider the theoretical and applied aspects of the formation of cluster initiatives; 2. analyze the factors of participants' interest in creating a museum cluster; 3. identify elements that negatively affect the creation and functioning of museum clusters. General scientific research methods, such as the method of analysis and synthesis, were used in the research. The method of scientific forecasting was also applied to create cluster initiatives in the museum environment. Despite the range of published works, which belong mainly to economic scientists, there are very few studies on the introduction of cluster initiatives into the cultural environment, which necessitates further study of this area. The scientific novelty of the research consists in the analysis of cluster activities in various branches of cultural life and the presentation by the author of the specifics cluster initiatives. The article considers a cluster as a special type of business projects based on the collective actions of their participants (cluster initiative). The concept of \"cluster initiative\" is also defined, the main purpose and objectives of cluster initiatives are highlighted. The specifics of its use in the creation of museum clusters are considered.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132569892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.7256/2454-0625.2023.4.38045
N. Barsukova
The subject of research in this article is the concepts, directions and definitions of urban design that exist in different countries today. The novelty of the study is to identify their features and problems associated with the lack of a unified theoretical and methodological approach to urban design. The main trends of urban design, the principles of the formation of urban spaces are considered, categories and concepts of design reflecting the environmental values of the urban environment are proposed. An attempt is made to show that these contradictions can be solved by expanding the problem field of urban design by including environmental, anthropological and psychological issues to create innovative design projects. It is in the value attitudes that the differences of many concepts are most clearly manifested. The necessity of an integrated approach to the design of the urban environment is substantiated. For this purpose, a strategy of urban design is proposed, summarizing the key modern scientific and applied points of view in this area. It defines the connections, coincidences and complementarities between different conceptual approaches, the emphasis is on human-centered design and innovation. It is focused on modeling a virtually new synthetic environment with increased comfort indicators without compromising the natural environment. The relevance of this approach is due to the widespread opinion that it is impossible to achieve ecological balance within an urban settlement. The result of the study was the identification of the main themes and problems that urban design is able to solve at the present stage.
{"title":"Problematization of modern urban design","authors":"N. Barsukova","doi":"10.7256/2454-0625.2023.4.38045","DOIUrl":"https://doi.org/10.7256/2454-0625.2023.4.38045","url":null,"abstract":"\u0000 The subject of research in this article is the concepts, directions and definitions of urban design that exist in different countries today. The novelty of the study is to identify their features and problems associated with the lack of a unified theoretical and methodological approach to urban design. The main trends of urban design, the principles of the formation of urban spaces are considered, categories and concepts of design reflecting the environmental values of the urban environment are proposed. An attempt is made to show that these contradictions can be solved by expanding the problem field of urban design by including environmental, anthropological and psychological issues to create innovative design projects. It is in the value attitudes that the differences of many concepts are most clearly manifested. The necessity of an integrated approach to the design of the urban environment is substantiated. For this purpose, a strategy of urban design is proposed, summarizing the key modern scientific and applied points of view in this area. It defines the connections, coincidences and complementarities between different conceptual approaches, the emphasis is on human-centered design and innovation. It is focused on modeling a virtually new synthetic environment with increased comfort indicators without compromising the natural environment. The relevance of this approach is due to the widespread opinion that it is impossible to achieve ecological balance within an urban settlement. The result of the study was the identification of the main themes and problems that urban design is able to solve at the present stage.\u0000","PeriodicalId":184304,"journal":{"name":"Культура и искусство","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130785767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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