Pub Date : 2023-06-30DOI: 10.37769/2077-6608-2023-41-2
V. Rozin
The article proposes a methodological scheme, on the one hand, describing the process of the formation of a new reality, which can later be constituted as an object (cognition or ideal), on the other hand, including logical “stops” interpreted as schemes, concepts and metaphors. The author presents a point of view on the distinction between the scheme and the concept of A. P. Ogurtsov, as well as his study of the development of metaphor in political discourse. On the material of the reconstruction of Plato's “Feast” and some statements of philosophers, the concepts of schema, concept and metaphor are characterized. It is argued that within the framework of the Aristotelian and Cartesian traditions of thinking, metaphors can be eliminated, and in creativity they are an integral element of any work.
{"title":"Distinguishing and interrelation of the notions “concept”, “scheme”, “metaphor”","authors":"V. Rozin","doi":"10.37769/2077-6608-2023-41-2","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-2","url":null,"abstract":"The article proposes a methodological scheme, on the one hand, describing the process of the formation of a new reality, which can later be constituted as an object (cognition or ideal), on the other hand, including logical “stops” interpreted as schemes, concepts and metaphors. The author presents a point of view on the distinction between the scheme and the concept of A. P. Ogurtsov, as well as his study of the development of metaphor in political discourse. On the material of the reconstruction of Plato's “Feast” and some statements of philosophers, the concepts of schema, concept and metaphor are characterized. It is argued that within the framework of the Aristotelian and Cartesian traditions of thinking, metaphors can be eliminated, and in creativity they are an integral element of any work.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125800175","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-8
B.K. Barmankulova
Five Heads (1929–1930) and Actors in the Square (1969). An attempt was made to trace the external plan of the image in all its elements (form construction, figure composition, the characteristics of faces, the color landscape) and to reveal the internal plan, the figurative structure, which manifests itself in the play of the color surface, which performs a dual role: to be both an object shell and a screen, where associations that arose in the mind and imagination of the artist in the process of work are visualized. The attempt to see and analyze how the interweaving of the two image planes (symbiosis, synthesis), their flowing into each other create a pulsating image of the work that touches the feelings of the viewer.
{"title":"Ekphrasis. Two watercolors by Pavel Zaltsman","authors":"B.K. Barmankulova","doi":"10.37769/2077-6608-2023-41-8","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-8","url":null,"abstract":"Five Heads (1929–1930) and Actors in the Square (1969). An attempt was made to trace the external plan of the image in all its elements (form construction, figure composition, the characteristics of faces, the color landscape) and to reveal the internal plan, the figurative structure, which manifests itself in the play of the color surface, which performs a dual role: to be both an object shell and a screen, where associations that arose in the mind and imagination of the artist in the process of work are visualized. The attempt to see and analyze how the interweaving of the two image planes (symbiosis, synthesis), their flowing into each other create a pulsating image of the work that touches the feelings of the viewer.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114405339","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-4
V. Makarenko
The article presents the problem of using the transformations in Russia of the last three hundred years as a material for creating the theory of bureaucracy, which differs from the Weber concept. This problem is being addressed through the application of concepts developed at the Rostov School of Political Science of the Southern Federal University (Russia). The conceptual apparatus is being developed to study the Russian, Soviet and post-Soviet bureaucracy in connection with the process of forming an opposition in Russia, free from the stereotypes of bureaucratic activity, behavior and thinking. Such opposition could not emerge in either monarchical, Soviet or post-Soviet Russia. The reasons are explained in the theory of bureaucracy, which contains a reconstruction of the Marx definition of bureaucracy as a social parasite organism, reflection of many social contradictions and embodiment of political exclusion. The cognitive situation in modern Russia is discussed; ways for the researcher to bypass the choices imposed on him by the post-Soviet authorities, the specifics of genesis and the structure of the police society in the country.
{"title":"Development of the theory of bureaucracy: the case of Russia","authors":"V. Makarenko","doi":"10.37769/2077-6608-2023-41-4","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-4","url":null,"abstract":"The article presents the problem of using the transformations in Russia of the last three hundred years as a material for creating the theory of bureaucracy, which differs from the Weber concept. This problem is being addressed through the application of concepts developed at the Rostov School of Political Science of the Southern Federal University (Russia). The conceptual apparatus is being developed to study the Russian, Soviet and post-Soviet bureaucracy in connection with the process of forming an opposition in Russia, free from the stereotypes of bureaucratic activity, behavior and thinking. Such opposition could not emerge in either monarchical, Soviet or post-Soviet Russia. The reasons are explained in the theory of bureaucracy, which contains a reconstruction of the Marx definition of bureaucracy as a social parasite organism, reflection of many social contradictions and embodiment of political exclusion. The cognitive situation in modern Russia is discussed; ways for the researcher to bypass the choices imposed on him by the post-Soviet authorities, the specifics of genesis and the structure of the police society in the country.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129379165","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-1
I. Zhezhko-Braun
Historian Dmitry Peretolchin quotes several of my publications on the creation and application of political technologies in the United States in his program about Saul Alinsky on the House of Cards podcast on the Den TV channel. An advertisement for the conference "Russian World Against the Global Reich" was inserted into this broadcast. This article: analyzes the statements of the podcast about Alinsky and his main ideas; showes that the main source of Alinsky's political technologies is the experience of professional revolutionaries in Russia and that they in no way confirm the idea of a global Reich; describes the political technology that Alexander Prokhanov and his media complex uses to implement the Fifth Empire project, which is currently merged with the ideology of the Russian World; analyzes the ideological orientation of the House of Cards podcast and the Picture of the World club on the Den channel. The articles illustrates how the authors of the podcast are working to substantiate the propaganda direction of the media complex. The article also aims to show that political technologies, in particular, technologies of co-organization continue to develop and be implemented in countries with different political systems and can be applied to various types of social movements.
{"title":"Saul Alinsky in the podcast «House of Cards»","authors":"I. Zhezhko-Braun","doi":"10.37769/2077-6608-2023-41-1","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-1","url":null,"abstract":"Historian Dmitry Peretolchin quotes several of my publications on the creation and application of political technologies in the United States in his program about Saul Alinsky on the House of Cards podcast on the Den TV channel. An advertisement for the conference \"Russian World Against the Global Reich\" was inserted into this broadcast. This article: analyzes the statements of the podcast about Alinsky and his main ideas; showes that the main source of Alinsky's political technologies is the experience of professional revolutionaries in Russia and that they in no way confirm the idea of a global Reich; describes the political technology that Alexander Prokhanov and his media complex uses to implement the Fifth Empire project, which is currently merged with the ideology of the Russian World; analyzes the ideological orientation of the House of Cards podcast and the Picture of the World club on the Den channel. The articles illustrates how the authors of the podcast are working to substantiate the propaganda direction of the media complex. The article also aims to show that political technologies, in particular, technologies of co-organization continue to develop and be implemented in countries with different political systems and can be applied to various types of social movements.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124984727","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-3
A. I. Neretin
The article examines the contribution of the Italian journalist and historian Giampaolo Pansa to the Italian collective memory. The definition of the concept of "collective trauma", as well as "structural violence" is given. The work also deals with the consequences of the fascist regime on Italian identity, expressed in cultural trauma. A historiographical review of two books by J. Pansa, who made a great impression on the Italians, as he was the first to decide to tell about the mutual two-sided arbitrariness of winners and losers that took place in Italy during the civil War of 1943–1945. For a long time it was forbidden to talk about this conflict in Italy about what the traumatized consciousness did not allow to remember. The silence that Italy was struck by eventually played a bad role for the Italians. Having abruptly left the fascist worldview, having abruptly changed their identity from totalitarian to democratic, the Italians were afraid to work through this trauma, not wanting to remember the lynching and arbitrariness committed by many of those who were considered and rightfully considered heroes. Moreover, many families who were associated with fascism or simply adhered to these views were afraid to talk about them because of the risk of retaliation.
{"title":"Giampaolo Pansa and his contribution to the collective memory of Italians","authors":"A. I. Neretin","doi":"10.37769/2077-6608-2023-41-3","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-3","url":null,"abstract":"The article examines the contribution of the Italian journalist and historian Giampaolo Pansa to the Italian collective memory. The definition of the concept of \"collective trauma\", as well as \"structural violence\" is given. The work also deals with the consequences of the fascist regime on Italian identity, expressed in cultural trauma. A historiographical review of two books by J. Pansa, who made a great impression on the Italians, as he was the first to decide to tell about the mutual two-sided arbitrariness of winners and losers that took place in Italy during the civil War of 1943–1945. For a long time it was forbidden to talk about this conflict in Italy about what the traumatized consciousness did not allow to remember. The silence that Italy was struck by eventually played a bad role for the Italians. Having abruptly left the fascist worldview, having abruptly changed their identity from totalitarian to democratic, the Italians were afraid to work through this trauma, not wanting to remember the lynching and arbitrariness committed by many of those who were considered and rightfully considered heroes. Moreover, many families who were associated with fascism or simply adhered to these views were afraid to talk about them because of the risk of retaliation.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125100536","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-9
V. Rozin
The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification.
{"title":"Psychic trauma and a special plot of short stories as a result of the incompatibility of personality and culture","authors":"V. Rozin","doi":"10.37769/2077-6608-2023-41-9","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-9","url":null,"abstract":"The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127327575","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 : 2023-06-30DOI: 10.37769/2077-6608-2023-41-7
A. Voronin
The article provides an overview of the problems of the correlation of illusions and reality based on the material of the author's literary texts
本文以作者的文学文本材料为基础，对幻觉与现实的关联问题进行了概述
{"title":"Illusion of Reality","authors":"A. Voronin","doi":"10.37769/2077-6608-2023-41-7","DOIUrl":"https://doi.org/10.37769/2077-6608-2023-41-7","url":null,"abstract":"The article provides an overview of the problems of the correlation of illusions and reality based on the material of the author's literary texts","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123351961","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 : 2022-12-30DOI: 10.37769/2077-6608-2022-39-5
N. Murzin
Evil and the fear coming along with it — either the fear to become its victim or its agent — is haunting mankind’s consciousness since the dawn of time. The powerful instinctive rejection that evil causes is only natural, and yet it prevents us from cognizing it and, thus, from building more effective defenses against it. Art sublimes the direct blow of our anxiety by transforming evil into symbolic and metaphorical figures which we can imaginably deal with and even accept them, making them specifically interesting and even attractive. Along with artistic indulgence we strengthen the sense of metaphysical control over evil: Eventually shaping evil as a notion and an aggregative image we confirm to ourselves that we do have the ability to rise to the transcendent height of considering the Being as a Whole (or to the phenomenological essential insight), by doing so putting aside the limitations that conditio humana with its partiality and practical trivia lays upon us. Then again, presenting evil as an aesthetic phenomenon we design the kind of a virtual playground where we model it, counteract it and through this, finally establish our moral intuition on a new proven basis. Why is it so needed and reviving for us to create and use these psychological machines, not to mention the catharsis element they bring us, show some works of a prominent modern author Stephen King, the explorer of the theme of evil in the field of pop-culture.
{"title":"Guessing the face of evil: some characteristic traits to Stephen King’s demonology","authors":"N. Murzin","doi":"10.37769/2077-6608-2022-39-5","DOIUrl":"https://doi.org/10.37769/2077-6608-2022-39-5","url":null,"abstract":"Evil and the fear coming along with it — either the fear to become its victim or its agent — is haunting mankind’s consciousness since the dawn of time. The powerful instinctive rejection that evil causes is only natural, and yet it prevents us from cognizing it and, thus, from building more effective defenses against it. Art sublimes the direct blow of our anxiety by transforming evil into symbolic and metaphorical figures which we can imaginably deal with and even accept them, making them specifically interesting and even attractive. Along with artistic indulgence we strengthen the sense of metaphysical control over evil: Eventually shaping evil as a notion and an aggregative image we confirm to ourselves that we do have the ability to rise to the transcendent height of considering the Being as a Whole (or to the phenomenological essential insight), by doing so putting aside the limitations that conditio humana with its partiality and practical trivia lays upon us. Then again, presenting evil as an aesthetic phenomenon we design the kind of a virtual playground where we model it, counteract it and through this, finally establish our moral intuition on a new proven basis. Why is it so needed and reviving for us to create and use these psychological machines, not to mention the catharsis element they bring us, show some works of a prominent modern author Stephen King, the explorer of the theme of evil in the field of pop-culture.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126074649","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 : 2022-12-30DOI: 10.37769/2077-6608-2022-39-8
S. Neretina
Plato's dialogue "Alcibiades I" introduces the very essence of philosophical business — knowledge, as far as it is accessible to man. The dialogue conducted by the wise Socrates and the young vain Alcibiades, who, wanting to play the first role in politics, decided to "fill the whole, one might say, humanity with his name and power," i. e. to unleash a war. Socrates, crushed by such a desire, prompted Alcibiades to consider what are called the "last questions": war and peace. Unfolding the argument, he discusses the concepts of justice/injustice, right/lawlessness, good/evil, which turn out to be ambiguous, as well as the idea of freedom: on the one hand (Socrates) it is understood as a characteristic of virtue, and on the other (Alcibiades) — self-will and voluntarism. The need for Alcibiades to remain "himself" presupposed the tyrannically accessible possibility of war, which was a way of exercising his "freedom". The war turned out to be a perversion of the world, an "adventure of the spirit" and "the greatest grief" that people bring released forces that the world does not know how to use
{"title":"On the concept of war in Plato's dialogue \"Alcibiades I\"","authors":"S. Neretina","doi":"10.37769/2077-6608-2022-39-8","DOIUrl":"https://doi.org/10.37769/2077-6608-2022-39-8","url":null,"abstract":"Plato's dialogue \"Alcibiades I\" introduces the very essence of philosophical business — knowledge, as far as it is accessible to man. The dialogue conducted by the wise Socrates and the young vain Alcibiades, who, wanting to play the first role in politics, decided to \"fill the whole, one might say, humanity with his name and power,\" i. e. to unleash a war. Socrates, crushed by such a desire, prompted Alcibiades to consider what are called the \"last questions\": war and peace. Unfolding the argument, he discusses the concepts of justice/injustice, right/lawlessness, good/evil, which turn out to be ambiguous, as well as the idea of freedom: on the one hand (Socrates) it is understood as a characteristic of virtue, and on the other (Alcibiades) — self-will and voluntarism. The need for Alcibiades to remain \"himself\" presupposed the tyrannically accessible possibility of war, which was a way of exercising his \"freedom\". The war turned out to be a perversion of the world, an \"adventure of the spirit\" and \"the greatest grief\" that people bring released forces that the world does not know how to use","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130462002","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 : 2022-12-30DOI: 10.37769/2077-6608-2022-39-4
A. Paramonov
In a series of "educational films" of the 80s devoted to various phenomena and effects from the field of natural sciences, Vladimir Kobrin sometimes refers to the technique he developed, which he calls "the method of obtaining a movie image using a running beam." In particular, in the film "The Physical Foundations of Quantum Mechanics", this technique is used to create a visual image of the well-known Heisenberg uncertainty relation. The article attempts to show that the effect of the technique developed by the director goes beyond just a technical way of visualizing an abstract scientific and theoretical representation. It is suggested that this technique in Kobrin's later films, which are characterized by fragmentary, allegorical images, a shift from the expression of movement to the plasticity of transformations, the replacement of the spectator-observer figure with the spectator-witness figure, acts as a kind of condensation mechanism, a technique of "awakening to recognition" beyond the capabilities of the spectator assembly of film editing.
{"title":"“The magic of fiery spiral”: on one Vladimir Kobrin’s cinematic technique","authors":"A. Paramonov","doi":"10.37769/2077-6608-2022-39-4","DOIUrl":"https://doi.org/10.37769/2077-6608-2022-39-4","url":null,"abstract":"In a series of \"educational films\" of the 80s devoted to various phenomena and effects from the field of natural sciences, Vladimir Kobrin sometimes refers to the technique he developed, which he calls \"the method of obtaining a movie image using a running beam.\" In particular, in the film \"The Physical Foundations of Quantum Mechanics\", this technique is used to create a visual image of the well-known Heisenberg uncertainty relation. The article attempts to show that the effect of the technique developed by the director goes beyond just a technical way of visualizing an abstract scientific and theoretical representation. It is suggested that this technique in Kobrin's later films, which are characterized by fragmentary, allegorical images, a shift from the expression of movement to the plasticity of transformations, the replacement of the spectator-observer figure with the spectator-witness figure, acts as a kind of condensation mechanism, a technique of \"awakening to recognition\" beyond the capabilities of the spectator assembly of film editing.","PeriodicalId":328399,"journal":{"name":"Vox. Philosophical journal","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134119557","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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