The relevance of the study is to try to make sense of the changes in photography. The problem of research is the lack of a position in modern cultural studies on the essence of photography. The problem is methodological. The aim of the study is to study approaches to photography and their evolution. Research methods are associated with philosophical and cultural analysis of the problem. There are several approaches to studying photography. The author chooses those of them that will reveal the problem of changing the relationship to the essence of photography in the cultural and philosophical aspect. Susan Sontag says that photography takes on the importance of social ritual and is perceived as an instrument of self-approval. Andre Rouille defines the place of photography in modern culture and speaks of it as a certain cultural phenomenon, art technology. Here, Rouille contrasts his theoretical grounds with the views of Roland Barth. Rouille says that photography has universality, a total manifestation in culture, Bart, on the contrary, claims that photography is an object, the photograph itself contains an object that the photograph displays. Based on different views on the problem of the essence of photography, the author proposed a number of figure of merit by which it will be possible to trace the evolution of scientific approaches to the study of photography. Thus, three main figure of merit were developed, the first of which considers photography as part of culture. Photography becomes woven into the modern cultural layer, thanks to technological innovations. It ceases to be perceived as a separate document, but is seen by each user as an integral part of everyday life. The new digital culture dictates changes in the field of visual language. On the other hand, photography also remains part of art, this is the second criterion. The creative methods of artists, photographers are expanding significantly in modern art, photography is becoming part of many artistic practices. The third criterion is related to the philosophical understanding of the essence of photography. Many researchers aim to identify the primary basis of the photographic image. The findings of the study are related to the fact that photography is experiencing essential changes in connection with the advent of digital culture. Photography takes on the shade of a social element, which allows it to be part of a person's everyday culture. There is a significant transition from a document to a certain element of public relations. Its active manifestation in mass culture, social networks speaks of the importance of photography for modern culture. Ideas about photography are associated with the socio-cultural context of its existence. Susan Sontag in the second half of the 20th century spoke of photography as an integral part of social relations, today photography is perceived as a tool for constructing the worldview of modern man, it is said about her influence on aesthetics, the f
{"title":"TRANSFORMING IDEAS ABOUT PHOTOGRAPHY: SYSTEMATIZING EXISTING APPROACHES","authors":"Ksenia V. Krasikova","doi":"10.17223/22220836/42/9","DOIUrl":"https://doi.org/10.17223/22220836/42/9","url":null,"abstract":"The relevance of the study is to try to make sense of the changes in photography. The problem of research is the lack of a position in modern cultural studies on the essence of photography. The problem is methodological. The aim of the study is to study approaches to photography and their evolution. Research methods are associated with philosophical and cultural analysis of the problem. There are several approaches to studying photography. The author chooses those of them that will reveal the problem of changing the relationship to the essence of photography in the cultural and philosophical aspect. Susan Sontag says that photography takes on the importance of social ritual and is perceived as an instrument of self-approval. Andre Rouille defines the place of photography in modern culture and speaks of it as a certain cultural phenomenon, art technology. Here, Rouille contrasts his theoretical grounds with the views of Roland Barth. Rouille says that photography has universality, a total manifestation in culture, Bart, on the contrary, claims that photography is an object, the photograph itself contains an object that the photograph displays. Based on different views on the problem of the essence of photography, the author proposed a number of figure of merit by which it will be possible to trace the evolution of scientific approaches to the study of photography. Thus, three main figure of merit were developed, the first of which considers photography as part of culture. Photography becomes woven into the modern cultural layer, thanks to technological innovations. It ceases to be perceived as a separate document, but is seen by each user as an integral part of everyday life. The new digital culture dictates changes in the field of visual language. On the other hand, photography also remains part of art, this is the second criterion. The creative methods of artists, photographers are expanding significantly in modern art, photography is becoming part of many artistic practices. The third criterion is related to the philosophical understanding of the essence of photography. Many researchers aim to identify the primary basis of the photographic image. The findings of the study are related to the fact that photography is experiencing essential changes in connection with the advent of digital culture. Photography takes on the shade of a social element, which allows it to be part of a person's everyday culture. There is a significant transition from a document to a certain element of public relations. Its active manifestation in mass culture, social networks speaks of the importance of photography for modern culture. Ideas about photography are associated with the socio-cultural context of its existence. Susan Sontag in the second half of the 20th century spoke of photography as an integral part of social relations, today photography is perceived as a tool for constructing the worldview of modern man, it is said about her influence on aesthetics, the f","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"91 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84401087","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}
The analysis of publications on the sociology of education revealed the contradictions in the educational space under the influence of which the role of the library is changing: 1. Equality of rights to education and social differentiation. The contradiction between the declared equality of rights to education and socio-territorial barriers to obtaining education is reduced by libraries that provide free access to socially significant information and knowledge. 2. "Demographic pit" and the decline in education. A decrease in the number of enrollee at the beginning of the ХХI century led to lower requirements for enrollees and to a decrease in the quality of higher education. Modern GEF establish strict requirements for information support for educational programs of universities. The task of libraries in these conditions is to evolve along with the development of education. Libraries are included in the knowledge management process, developing services aimed at servicing new research practices. 3. Disproportions in the structure of education. The structure of educational programs does not fully satisfy the needs of the economy in specialists of the coincident profile. This creates the need for additional education, self-education, lifelong education. Libraries can promote lifelong education and self-education in various areas: – traditional informational support of training programs; – development of disciplinary discourses for teachers and students; – deepening personalization in service; – analysis of open resources for remote users and the creation of tools for their differentiation and use; – participation in the information culture formation; – Promoting the humanization of education; – project activities in popular areas; – informing about educational programs of the territory. 4. The formation of the cultural "capital" of the individual and the "products" of education. In addition to knowledge, abilities and skills in the course of education, the cultural capital of the individual and a special creative environment are formed. The library, associated with the knowledge of a new text, discourse, becomes an instrument of "cultural creation": it facilitates the search and creation of new meanings, forms and supports the creative environment. The formation of the intellectual potential of the territory is based on the interaction and development of scientific, educational and cultural spaces. The library, integrated with all its elements into this complex, dynamic sphere, is changing after its transformation. Library activities are enriched in new directions and expanding functionally, new tasks and intellectual practices appear. The library also retains its immanent functions, which no one else can perform in a changed environment: creating a content resource in the sociocultural and educational discourse of the territory and managing these collections, ensuring equal access to these resources for all users, their organization, presentation a
{"title":"THE LIBRARY AS A COMPONENT OF THE EDUCATIONAL AND CULTURAL POTENTIAL OF THE TERRITORY","authors":"N. Podkorytova, I. Lakizo","doi":"10.17223/22220836/43/27","DOIUrl":"https://doi.org/10.17223/22220836/43/27","url":null,"abstract":"The analysis of publications on the sociology of education revealed the contradictions in the educational space under the influence of which the role of the library is changing: 1. Equality of rights to education and social differentiation. The contradiction between the declared equality of rights to education and socio-territorial barriers to obtaining education is reduced by libraries that provide free access to socially significant information and knowledge. 2. \"Demographic pit\" and the decline in education. A decrease in the number of enrollee at the beginning of the ХХI century led to lower requirements for enrollees and to a decrease in the quality of higher education. Modern GEF establish strict requirements for information support for educational programs of universities. The task of libraries in these conditions is to evolve along with the development of education. Libraries are included in the knowledge management process, developing services aimed at servicing new research practices. 3. Disproportions in the structure of education. The structure of educational programs does not fully satisfy the needs of the economy in specialists of the coincident profile. This creates the need for additional education, self-education, lifelong education. Libraries can promote lifelong education and self-education in various areas: – traditional informational support of training programs; – development of disciplinary discourses for teachers and students; – deepening personalization in service; – analysis of open resources for remote users and the creation of tools for their differentiation and use; – participation in the information culture formation; – Promoting the humanization of education; – project activities in popular areas; – informing about educational programs of the territory. 4. The formation of the cultural \"capital\" of the individual and the \"products\" of education. In addition to knowledge, abilities and skills in the course of education, the cultural capital of the individual and a special creative environment are formed. The library, associated with the knowledge of a new text, discourse, becomes an instrument of \"cultural creation\": it facilitates the search and creation of new meanings, forms and supports the creative environment. The formation of the intellectual potential of the territory is based on the interaction and development of scientific, educational and cultural spaces. The library, integrated with all its elements into this complex, dynamic sphere, is changing after its transformation. Library activities are enriched in new directions and expanding functionally, new tasks and intellectual practices appear. The library also retains its immanent functions, which no one else can perform in a changed environment: creating a content resource in the sociocultural and educational discourse of the territory and managing these collections, ensuring equal access to these resources for all users, their organization, presentation a","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88296948","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}
The authors address issues of the development of contemporary art in Russian regions. On the one hand, the task is to formulate the philosophical and theoretical foundations of such an analysis. On the other hand, original empirical data are used (based on a number of Russian and European cases). The authors propose an original concept of synchronization of modernity as an attempt to overcome the contradiction between global normalization of cultural processes (“homogenization”) and opposition to it in the trends of “heterogenization” based on locality and originality. Synchronization is viewed as a “rhizome” of connections, relationships and projects in the flows of fluid modernity (Z. Bauman's liquid Modernity). The concept of “synchronization of modernity” is proposed as a philosophical basis for the analysis and practical development of contemporary art in the regions of Russia, in which, in particular, it is supposed to resolve the contradiction by homogenization (or global normalization) and heterogenization in the dynamic situation of “liquid Modernity” (Bauman) and cultural hybridization, which involves not only taking into account the conditions of deterritorialization, but also various forms of actualizing the local / regional context. These are the conditions and limitations for the formation of a “rhizome” (in the sense of Deleuze and Guattari) of contemporary art in Russia. The initial assumptions of the concept of synchronization of modernity are applied to the analysis of the current historical and cultural situation, the development of contemporary art in the regions of Russia, where this “rhizome” grows in a clash between the translation of the global international context (prestigious exhibitions, institutions, curators, auctions) and the search for distinctive regional (local) grounds. It is also shown that in the current empirical and practical context, the synchronization of modernity is implemented in several approaches: 1) “local identity”, 2) global normalization (“colonization”), 3) network “stitching of territories”, 4) chaotic search / open initiative.
{"title":"SYNCHRONIZATION OF MODERNITY: “RHIZOME” OF RUSSIAN CONTEMPORARY ART IN GLOBAL AND REGIONAL CONTEXT","authors":"D. V. Galkin, A. Kuklina","doi":"10.17223/22220836/42/5","DOIUrl":"https://doi.org/10.17223/22220836/42/5","url":null,"abstract":"The authors address issues of the development of contemporary art in Russian regions. On the one hand, the task is to formulate the philosophical and theoretical foundations of such an analysis. On the other hand, original empirical data are used (based on a number of Russian and European cases). The authors propose an original concept of synchronization of modernity as an attempt to overcome the contradiction between global normalization of cultural processes (“homogenization”) and opposition to it in the trends of “heterogenization” based on locality and originality. Synchronization is viewed as a “rhizome” of connections, relationships and projects in the flows of fluid modernity (Z. Bauman's liquid Modernity). The concept of “synchronization of modernity” is proposed as a philosophical basis for the analysis and practical development of contemporary art in the regions of Russia, in which, in particular, it is supposed to resolve the contradiction by homogenization (or global normalization) and heterogenization in the dynamic situation of “liquid Modernity” (Bauman) and cultural hybridization, which involves not only taking into account the conditions of deterritorialization, but also various forms of actualizing the local / regional context. These are the conditions and limitations for the formation of a “rhizome” (in the sense of Deleuze and Guattari) of contemporary art in Russia. The initial assumptions of the concept of synchronization of modernity are applied to the analysis of the current historical and cultural situation, the development of contemporary art in the regions of Russia, where this “rhizome” grows in a clash between the translation of the global international context (prestigious exhibitions, institutions, curators, auctions) and the search for distinctive regional (local) grounds. It is also shown that in the current empirical and practical context, the synchronization of modernity is implemented in several approaches: 1) “local identity”, 2) global normalization (“colonization”), 3) network “stitching of territories”, 4) chaotic search / open initiative.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"111 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86744588","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}
Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.
{"title":"FEATURES OF FORMATION OF THE MUSICAL INFRASTRUCTURE OF KEMEROVO REGION (20–40-TH YEARS OF XX CENTURY)","authors":"Nina V. Pomorceva, T. Moroz","doi":"10.17223/22220836/41/14","DOIUrl":"https://doi.org/10.17223/22220836/41/14","url":null,"abstract":"Describes a stage of formation and development of music in the Kemerovo region's infrastructure as a young industrial region of Russia. Due to interaction between socio-cultural and socio-economic aspects of development of the region, the musical life of the Kemerovo region was prepared in the pre-industrial period (until 1920), featuring the development of music performance within folk, Church, amateur music-making and unable to exit professional level due to lack of expertise in the region. After the October revolution in the conditions of intensive formation of the industrial structure in young cities region and the initial installation on massification of amateur (amateur) creativity, gradually formed the basis for the establishment of a fully fledged musical infrastructure. This phase was marked by the emergence and intensive development of musical performance mainly in the form of amateur music: choral and instrumental groups in constructed folk houses and clubs, performing cultural and educational functions among the working population. Parallel to the process of formation of the educational basis of musical infrastructure: opening of children's music schools, music schools, offices, children's creativity centres at clubs and houses of culture industry enterprises. During the great patriotic war, resulting in the evacuation and the arrival in the region of creative collectives and professional musicians going on formation of academic performance. Creating a pop concert Bureau (1943), subsequently converted in Kemerovo Oblast Philharmonic, translation of theatre of musical comedy (1945 g.) led to revitalize and strengthen the processes of professional music art items in Kemerovo oblast. With the opening of vocational educational institution-Kemerovo musical College (1944)-lay the Foundation for training new personnel in the sphere of musical culture of the region. With the advent of the professional segment in the cultural traditions of stabilization activities are envisaged with the totality of the prevailing musical infrastructure functioning in the context of the musical life of the region. Consequently, the period under review is an important link in the panorama of music art development in the industrial region, and determines subsequent lush flowering in 1970–1990.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82269969","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}
The article addresses the pictorial representation of the so-called “field camp” in Soviet realist painting. A field camp is a temporary site equipped for providing meals and recreation to agrarian workers and situated as close to the place of their labor activity as it possible, i.e. directly in a field. Pictures representing the field camp portray Soviet people, workers, in the process of their creative labor for the sake of socialism, which allows us to treat this type of painting as an example of Socialist realism. Amongst the multiple subjects concerning the labor activity of Soviet people, the pictorial representation of the field camp as a space of work and recreation is of interest, because it reflects the specific to Soviet culture views on the role and value of agrarian labor. Our study has pursued two main purposes: - to demonstrate the symbolical value of the field camp pictorial representation and its influence on the development of Socialist realist painting in general; - to reveal a semiotic system (a system of visual images – the signifiers) which enables pictures representing the field camp to function efficiently in Soviet painting. In the course of the study we have also accomplished several additional tasks: - to outline the history of the subject under consideration in Soviet painting; - to interpret shifts in the representation of the subject in order to reveal their connection with the transformation of artistic strategies and ideological discourse. The study addresses some new issues. Soviet painting representing agrarian labor has never been considered in cultural studies. From such a perspective, Socialist realist painting is significant as a historical source for studying Soviet culture and ideology. The analysis of a range of images representing the field camp demonstrates that having emerged in the 1930-s the pictorial representation of agrarian labor became one of the most popular subjects in the 1960s – 1970s. Such pictures make evident the essential difference between the socialist agrarian labor and the traditional farming. The field camp represents the meal of a working team, thereby manifesting the new form of social and labor relationships. The representation of the field camp acquired the following significant features: - the agrarian worker is portrayed in a new manner; - agrarian labor reflects the harmony of people and nature; - agrarian labor is depicted as the space of social harmony. We have also identified a variety of semiotic structures, which serve to express these specific features. These are the groups of signifiers representing gender relationships, opposition of “natural” and “technical”, dialectics of “individual” and “collective”, continuity of labor and domestic activities.
{"title":"THE REPRESENTATION OF THE FIELD CAMP IN SOVIET PAINTING OF 1960S – 1970S","authors":"O. Bezzubova, Polina A. Dvoynikova, A. Smirnov","doi":"10.17223/22220836/43/2","DOIUrl":"https://doi.org/10.17223/22220836/43/2","url":null,"abstract":"The article addresses the pictorial representation of the so-called “field camp” in Soviet realist painting. A field camp is a temporary site equipped for providing meals and recreation to agrarian workers and situated as close to the place of their labor activity as it possible, i.e. directly in a field. Pictures representing the field camp portray Soviet people, workers, in the process of their creative labor for the sake of socialism, which allows us to treat this type of painting as an example of Socialist realism. Amongst the multiple subjects concerning the labor activity of Soviet people, the pictorial representation of the field camp as a space of work and recreation is of interest, because it reflects the specific to Soviet culture views on the role and value of agrarian labor. Our study has pursued two main purposes: - to demonstrate the symbolical value of the field camp pictorial representation and its influence on the development of Socialist realist painting in general; - to reveal a semiotic system (a system of visual images – the signifiers) which enables pictures representing the field camp to function efficiently in Soviet painting. In the course of the study we have also accomplished several additional tasks: - to outline the history of the subject under consideration in Soviet painting; - to interpret shifts in the representation of the subject in order to reveal their connection with the transformation of artistic strategies and ideological discourse. The study addresses some new issues. Soviet painting representing agrarian labor has never been considered in cultural studies. From such a perspective, Socialist realist painting is significant as a historical source for studying Soviet culture and ideology. The analysis of a range of images representing the field camp demonstrates that having emerged in the 1930-s the pictorial representation of agrarian labor became one of the most popular subjects in the 1960s – 1970s. Such pictures make evident the essential difference between the socialist agrarian labor and the traditional farming. The field camp represents the meal of a working team, thereby manifesting the new form of social and labor relationships. The representation of the field camp acquired the following significant features: - the agrarian worker is portrayed in a new manner; - agrarian labor reflects the harmony of people and nature; - agrarian labor is depicted as the space of social harmony. We have also identified a variety of semiotic structures, which serve to express these specific features. These are the groups of signifiers representing gender relationships, opposition of “natural” and “technical”, dialectics of “individual” and “collective”, continuity of labor and domestic activities.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79747715","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}
The Spanish collection of the Stroganov Library reveals Spain as a country with a rich cultural heritage. The last owner of the family library, G.A. Stroganov, was the Russian ambassador to Spain, and his interest in Spanish subjects was reflected in the book collection. One of the most valuable publications is a series of engraved portraits of outstanding Spaniards, published from 1791 to 1819. As a cultural time-specific project of the Enlightenment era, this series reveals the value priorities of Spanish society, which allows us to understand its socio-cultural guidelines over a long historical period. An impressive share of the persons selected by the Spaniards among their outstanding representatives belongs to university figures. This speaks not only about the influence of the Age of Enlightenment, but also about the rich history of university tradition in Spain. The subject of our study is the figure of the Spanish humanist H. Núñez de Guzman (1475-1553). In his youth, he studied with Nebrija. In the College of St. Clement in Bologna he started studying the culture of classical Greece. After returning to Spain, he studied Hebrew and Arabic in Granada. He was invited by Cisneros to the University of Alcala to work on a project to create a multilingual Bible. At this university, which became an important center of Spanish humanism, he taught rhetoric and Greek. In 1524, he received a chair of Greek at the University of Salamanca, where he also taught Latin, rhetoric, and lectured on the "Natural History" of Pliny. In Salamanca, Núñez published commentaries on the works of Seneca (1529), Mela (1543) and Pliny (1544); he prepared a collection of proverbs in the Castilian language, which was published in 1555. A deep connoisseur of Latin and Greek, Núñez is considered the patriarch of the Spanish Hellenists. They were a cohort of humanists who, on Spanish soil, combined in their worldview the features of the outgoing Middle Ages and the ideas of the Renaissance. Núñez played a significant role in the development of the Greek language as a subject of study in Spanish universities. The Greek language, the knowledge of which nourished and developed humanistic upbringing and education, gets its spread in Spain during the life and activity of Núñez. In the series of portraits of outstanding Spaniards, the portrait of Núñez is placed in the fourteenth notebook, published in 1802.The engraved portrait is made by Esquivel according to the drawing of Engidanos. Núñez is depicted sitting in nature with an open book in his hands. In the biography attached to the portrait, it is noted that "few have more reason to be included in the list of outstanding people than Fernando Núñez de Guzman. His character, his erudition and behavior are an example of the highest honor." Núñez donated his valuable collection of books in Latin and Greek to the University of Salamanca. Núñez remains interesting for researchers today. The image and selfless devotion of the erudit
斯特罗加诺夫图书馆的西班牙藏品揭示了西班牙是一个拥有丰富文化遗产的国家。这个家庭图书馆的最后一位主人是俄罗斯驻西班牙大使G.A.斯特罗加诺夫(G.A. Stroganov)，他对西班牙学科的兴趣反映在藏书中。其中最有价值的出版物之一是一系列杰出西班牙人的雕刻肖像，出版于1791年至1819年。作为启蒙时代的文化特定时间项目，该系列揭示了西班牙社会的价值优先事项，使我们能够理解其长期历史时期的社会文化指导方针。西班牙人选出的杰出代表中有相当一部分是大学人士。这不仅说明了启蒙时代的影响，也说明了西班牙丰富的大学传统历史。我们的研究对象是西班牙人文主义者H. Núñez de Guzman(1475-1553)。年轻时，他师从内布里亚。在博洛尼亚的圣克莱门特学院，他开始研究古典希腊文化。回到西班牙后，他在格拉纳达学习希伯来语和阿拉伯语。西斯内罗斯邀请他到阿尔卡拉大学参与一个制作多语言圣经的项目。在这所后来成为西班牙人文主义重要中心的大学里，他教授修辞学和希腊语。1524年，他在萨拉曼卡大学(University of Salamanca)担任希腊语教授，同时还教授拉丁语、修辞学，并讲授普林尼(Pliny)的“自然史”。在萨拉曼卡，Núñez发表了对塞内卡(1529)，梅拉(1543)和普林尼(1544)的作品的评论;他用卡斯蒂利亚语编写了一本谚语集，并于1555年出版。他精通拉丁语和希腊语，Núñez被认为是西班牙希腊学派的元老。他们是一群人文主义者，在西班牙的土地上，他们的世界观结合了中世纪的特点和文艺复兴的思想。Núñez在希腊语作为西班牙大学的一门学科的发展中发挥了重要作用。希腊语的知识滋养和发展了人文教育和教育，在Núñez的生活和活动中在西班牙传播开来。在西班牙杰出人物肖像系列中，Núñez的肖像被放在1802年出版的第十四本笔记本中。这幅雕刻肖像是Esquivel根据Engidanos的图纸制作的。Núñez被描绘成坐在大自然中，手里拿着一本打开的书。在这幅肖像所附的传记中，有人指出，“很少有人比费尔南多Núñez德古兹曼更有理由被列入杰出人物的名单。”他的品格、学识和行为都是最高荣誉的典范。”Núñez将他珍贵的拉丁文和希腊文藏书捐赠给萨拉曼卡大学。Núñez对今天的研究人员来说仍然很有趣。博学的形象和无私的奉献继续唤起深深的敬意，留下的遗产-感激。
{"title":"THE FACES OF UNIVERSITY SPAIN IN THE STROGANOV LIBRARY: SPANISH HUMANIST HERNANDO NÚÑEZ DE GUZMÁN","authors":"O. Zheravina","doi":"10.17223/22220836/43/20","DOIUrl":"https://doi.org/10.17223/22220836/43/20","url":null,"abstract":"The Spanish collection of the Stroganov Library reveals Spain as a country with a rich cultural heritage. The last owner of the family library, G.A. Stroganov, was the Russian ambassador to Spain, and his interest in Spanish subjects was reflected in the book collection. One of the most valuable publications is a series of engraved portraits of outstanding Spaniards, published from 1791 to 1819. As a cultural time-specific project of the Enlightenment era, this series reveals the value priorities of Spanish society, which allows us to understand its socio-cultural guidelines over a long historical period. An impressive share of the persons selected by the Spaniards among their outstanding representatives belongs to university figures. This speaks not only about the influence of the Age of Enlightenment, but also about the rich history of university tradition in Spain. The subject of our study is the figure of the Spanish humanist H. Núñez de Guzman (1475-1553). In his youth, he studied with Nebrija. In the College of St. Clement in Bologna he started studying the culture of classical Greece. After returning to Spain, he studied Hebrew and Arabic in Granada. He was invited by Cisneros to the University of Alcala to work on a project to create a multilingual Bible. At this university, which became an important center of Spanish humanism, he taught rhetoric and Greek. In 1524, he received a chair of Greek at the University of Salamanca, where he also taught Latin, rhetoric, and lectured on the \"Natural History\" of Pliny. In Salamanca, Núñez published commentaries on the works of Seneca (1529), Mela (1543) and Pliny (1544); he prepared a collection of proverbs in the Castilian language, which was published in 1555. A deep connoisseur of Latin and Greek, Núñez is considered the patriarch of the Spanish Hellenists. They were a cohort of humanists who, on Spanish soil, combined in their worldview the features of the outgoing Middle Ages and the ideas of the Renaissance. Núñez played a significant role in the development of the Greek language as a subject of study in Spanish universities. The Greek language, the knowledge of which nourished and developed humanistic upbringing and education, gets its spread in Spain during the life and activity of Núñez. In the series of portraits of outstanding Spaniards, the portrait of Núñez is placed in the fourteenth notebook, published in 1802.The engraved portrait is made by Esquivel according to the drawing of Engidanos. Núñez is depicted sitting in nature with an open book in his hands. In the biography attached to the portrait, it is noted that \"few have more reason to be included in the list of outstanding people than Fernando Núñez de Guzman. His character, his erudition and behavior are an example of the highest honor.\" Núñez donated his valuable collection of books in Latin and Greek to the University of Salamanca. Núñez remains interesting for researchers today. The image and selfless devotion of the erudit","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83677279","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}
The author describes the role of girls in the graffiti community and street art movement. The situation in the United States and in Russia are compared. Russian research results are based on interviews with girls from Samara, Novosibirsk, Gratifying, and Moscow. According to American researchers, the legal and personal dangers and the rebellious nature of writing graffiti are factors that writers conceptualize as male and use as achievements attesting to their masculinity. The purposeful exclusion of female writers is thus essential to the development of a (male) writer's identity. There were just a few women who penetrate the subculture during the 1980s, and they did with some difficulty. The women are typically characterized by male writers as “slutty”. Still, this fact has not deterred female writers but it has affected their numbers and the recognition (or lack thereof) of their work. Beginning with the pioneering work of NYC female writers, women's presence in the male-dominated world of graffiti has greatly expanded to our days. Today's female writers approach their writing from two opposite angles. Some take advantage of the anonymity of writing to disguise their sex or at least not call attention to it, while others are keen to make their work, through subject matter, colour, and style, appear blatantly feminine. In the Russian graffiti subculture, as well as in the American one, there is a gender asymmetry. This is due to the fact that the ideology, values and norms of behavior of this subculture are pronounced masculine in character. Ideology promotes the illegal nature of the activities of graffiti artists which is associated with a high level of danger. Therefore, girls rarely go in this area. In most cases, girls begin to draw graffiti, if their boyfriend is also engaged. They become a mentor and guarantor of security for girls. But girls rarely see graffiti as a way of self-realization. Graffiti for them is a way to expand the range of common interests with their boyfriends. Thus, graffiti for girls often has value not in itself, but as a tool that helps to build relationships with boys. Graffiti attracts girls who have a tendency to creative activity. The opportunity to creatively realize themselves attracts girls to street art: they use it as a means of professional self-realization, as in this art practical artistic abilities are valued, not the physical abilities and danger. Girls choose style in accordance to their aims. The mood inside the graffiti community doesn't affect it. There are no specific female roles in the subculture. Femininity in graffiti is seen as a weakened variant of masculinity.
{"title":"GRAFFITI GIRLS: GENDER FEATURES OF RUSSIAN YOUTH SUBCULTURE","authors":"Yuliya A. Kuzovenkova","doi":"10.17223/22220836/41/5","DOIUrl":"https://doi.org/10.17223/22220836/41/5","url":null,"abstract":"The author describes the role of girls in the graffiti community and street art movement. The situation in the United States and in Russia are compared. Russian research results are based on interviews with girls from Samara, Novosibirsk, Gratifying, and Moscow. According to American researchers, the legal and personal dangers and the rebellious nature of writing graffiti are factors that writers conceptualize as male and use as achievements attesting to their masculinity. The purposeful exclusion of female writers is thus essential to the development of a (male) writer's identity. There were just a few women who penetrate the subculture during the 1980s, and they did with some difficulty. The women are typically characterized by male writers as “slutty”. Still, this fact has not deterred female writers but it has affected their numbers and the recognition (or lack thereof) of their work. Beginning with the pioneering work of NYC female writers, women's presence in the male-dominated world of graffiti has greatly expanded to our days. Today's female writers approach their writing from two opposite angles. Some take advantage of the anonymity of writing to disguise their sex or at least not call attention to it, while others are keen to make their work, through subject matter, colour, and style, appear blatantly feminine. In the Russian graffiti subculture, as well as in the American one, there is a gender asymmetry. This is due to the fact that the ideology, values and norms of behavior of this subculture are pronounced masculine in character. Ideology promotes the illegal nature of the activities of graffiti artists which is associated with a high level of danger. Therefore, girls rarely go in this area. In most cases, girls begin to draw graffiti, if their boyfriend is also engaged. They become a mentor and guarantor of security for girls. But girls rarely see graffiti as a way of self-realization. Graffiti for them is a way to expand the range of common interests with their boyfriends. Thus, graffiti for girls often has value not in itself, but as a tool that helps to build relationships with boys. Graffiti attracts girls who have a tendency to creative activity. The opportunity to creatively realize themselves attracts girls to street art: they use it as a means of professional self-realization, as in this art practical artistic abilities are valued, not the physical abilities and danger. Girls choose style in accordance to their aims. The mood inside the graffiti community doesn't affect it. There are no specific female roles in the subculture. Femininity in graffiti is seen as a weakened variant of masculinity.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"59 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84907666","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}
Modern domestic research of digital culture, according to the author, is mainly based on scientific approaches developed by the Euro-American philosophical and scientific thought. This position seems counterproductive, as it condemns Russian scientists to eternal lag. The article offers a number of alternative approaches to the study of digital culture. The author presents some subject areas and methods of studying digital culture, which are on the periphery of scientific interests. It offers a number of steps away from established research traditions. First, the author shares phenomenal and noumenal aspects of digital culture. The emphasis on the nominal aspect opens up the possibility of analyzing the value-semantic content of digital culture, identifying the specifics of “digital creativity” as a semantic and syntactic process. Secondly, the author expands the ideas about the genealogy of digital culture. In particular, the role of philosophy in the formation of a new digital method of culture coding is explicated, the way some ideas of structuralism, axiology, phenomenology legitimized the formation of this method is demonstrated. Third, the author falsifies (in the sense of Popper) the tradition of identifying postmodern culture with digital culture. Based on comparative analysis it is proved that the value-semantic content of these cultures do not coincide, that digital culture is a synthesis of the ideals of modernism and postmodernism. Fourth, the author attempts to determine the ontological status of digital culture. He argues that the inherent ability of this culture to reproduce itself makes a person from the subject of cultural production to its object. This non-anthropocentric turn generates an unprecedented alienation of culture. Digital culture is turning into a force that dominates man, turns man into a being not just controlled, manipulated, but also devoid of authenticity. At the same time, non-anthropocentric turn creates unprecedented participation person to the culture. The growing dependence of man on artificial technologies puts culture at the epicenter of human existence. Changing the ontological status of culture entails the need for a radical revision of the conceptual apparatus of its research. The concept of “culture” is spontaneously replaced by the concept of “postculture”. In conclusion, the article emphasizes the vital importance of studying digital culture, the need for theoretical study of ideas about digital culture as a post-culture.
{"title":"DIGITAL CULTURE AS AN OBJECT OF CULTURAL STUDIES: THE PROBLEM OF METHODOLOGICAL ALTERNATIVES","authors":"E. Yarkova","doi":"10.17223/22220836/41/9","DOIUrl":"https://doi.org/10.17223/22220836/41/9","url":null,"abstract":"Modern domestic research of digital culture, according to the author, is mainly based on scientific approaches developed by the Euro-American philosophical and scientific thought. This position seems counterproductive, as it condemns Russian scientists to eternal lag. The article offers a number of alternative approaches to the study of digital culture. The author presents some subject areas and methods of studying digital culture, which are on the periphery of scientific interests. It offers a number of steps away from established research traditions. First, the author shares phenomenal and noumenal aspects of digital culture. The emphasis on the nominal aspect opens up the possibility of analyzing the value-semantic content of digital culture, identifying the specifics of “digital creativity” as a semantic and syntactic process. Secondly, the author expands the ideas about the genealogy of digital culture. In particular, the role of philosophy in the formation of a new digital method of culture coding is explicated, the way some ideas of structuralism, axiology, phenomenology legitimized the formation of this method is demonstrated. Third, the author falsifies (in the sense of Popper) the tradition of identifying postmodern culture with digital culture. Based on comparative analysis it is proved that the value-semantic content of these cultures do not coincide, that digital culture is a synthesis of the ideals of modernism and postmodernism. Fourth, the author attempts to determine the ontological status of digital culture. He argues that the inherent ability of this culture to reproduce itself makes a person from the subject of cultural production to its object. This non-anthropocentric turn generates an unprecedented alienation of culture. Digital culture is turning into a force that dominates man, turns man into a being not just controlled, manipulated, but also devoid of authenticity. At the same time, non-anthropocentric turn creates unprecedented participation person to the culture. The growing dependence of man on artificial technologies puts culture at the epicenter of human existence. Changing the ontological status of culture entails the need for a radical revision of the conceptual apparatus of its research. The concept of “culture” is spontaneously replaced by the concept of “postculture”. In conclusion, the article emphasizes the vital importance of studying digital culture, the need for theoretical study of ideas about digital culture as a post-culture.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"3 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79507858","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}
The book collection of the famous Russian statesman of the XIX century Count Peter Alexandrovich Valuev (1815–1890) was acquired by the Ministry of Public Education in 1885 for a university under construction in Tomsk. This article is dedicated to the content study of this book collection, stored in the Scientific Library of TSU. The subject of the study is a collection of educational books and publications on the reform of the public education system in Russia in the 1860s. The main task is to study them in the context of state activities and personal characteristics of P.A. Valuev. The methodological basis of the research is bibliological and cultural-historical methods. The article presents the results of studying textbooks and publications of a legislative nature on education in Russia, included in this collection. In studying the collection, the entries in Valuev’s diary, made in the period from 1861 to 1868, when he headed the Ministry of Internal Affairs, were of a great help. The article provides brief information about the state activities of Valuev in the period from 1860 to 1880. On the eve of the Emancipation Reform of 1861 in Russia, the Ministry of Public Education, realizing the unsatisfactory state of educational institutions in the country, made a decision about their transformation. In 1856, they began with a revision of the university charter and the charter of gymnasiums and schools, adopted during the reign of Emperor Nicholas I. Only in the 1860s a consideration of the drafts of these charters prepared by this time had began. The first part considers publications related to the development of the new charters for educational institutions in Russia in the 1860s, which give an idea of the specific documents which Valuev worked with. “The Draft of the General Charter of Imperial Russian Universities” is presented in the collection in three different editions, published in 1862. The last draft of the charter, developed by members of scientific committee of the Ministry, was taken as the basis for the new university charter, which was published in 1863. The collection also contains “The Draft of the Charter of general education institutions”, as well as the “Charter of gymnasiums and pro-gymnasiums”, published in 1864. Numerous notes in copies belonging to Valuev, indicating his work on these projects, were analyzed. Another part of the collection – textbooks – gives an unusual touch to the owner's personality. The features of textbooks stored in the library are identified and the publication histories of some of them are revealed. Among those are copies of textbooks on trigonometry, chemistry, zoology, botany, etc., which contain the notes of his youngest son Nikolai. Being a highly educated person, Valuev appreciated good textbooks: not only he acquired them for his son, but also stored them in his library, despite the remaining traces of Nikolai's diligent work with these books during his studies. The content of the collection
{"title":"COLLECTION OF TEXTBOOKS AND PUBLICATIONS ON EDUCATION IN RUSSIA IN THE LIBRARY OF COUNT P.A. VALUEV","authors":"G. Kolosova","doi":"10.17223/22220836/41/25","DOIUrl":"https://doi.org/10.17223/22220836/41/25","url":null,"abstract":"The book collection of the famous Russian statesman of the XIX century Count Peter Alexandrovich Valuev (1815–1890) was acquired by the Ministry of Public Education in 1885 for a university under construction in Tomsk. This article is dedicated to the content study of this book collection, stored in the Scientific Library of TSU. The subject of the study is a collection of educational books and publications on the reform of the public education system in Russia in the 1860s. The main task is to study them in the context of state activities and personal characteristics of P.A. Valuev. The methodological basis of the research is bibliological and cultural-historical methods. The article presents the results of studying textbooks and publications of a legislative nature on education in Russia, included in this collection. In studying the collection, the entries in Valuev’s diary, made in the period from 1861 to 1868, when he headed the Ministry of Internal Affairs, were of a great help. The article provides brief information about the state activities of Valuev in the period from 1860 to 1880. On the eve of the Emancipation Reform of 1861 in Russia, the Ministry of Public Education, realizing the unsatisfactory state of educational institutions in the country, made a decision about their transformation. In 1856, they began with a revision of the university charter and the charter of gymnasiums and schools, adopted during the reign of Emperor Nicholas I. Only in the 1860s a consideration of the drafts of these charters prepared by this time had began. The first part considers publications related to the development of the new charters for educational institutions in Russia in the 1860s, which give an idea of the specific documents which Valuev worked with. “The Draft of the General Charter of Imperial Russian Universities” is presented in the collection in three different editions, published in 1862. The last draft of the charter, developed by members of scientific committee of the Ministry, was taken as the basis for the new university charter, which was published in 1863. The collection also contains “The Draft of the Charter of general education institutions”, as well as the “Charter of gymnasiums and pro-gymnasiums”, published in 1864. Numerous notes in copies belonging to Valuev, indicating his work on these projects, were analyzed. Another part of the collection – textbooks – gives an unusual touch to the owner's personality. The features of textbooks stored in the library are identified and the publication histories of some of them are revealed. Among those are copies of textbooks on trigonometry, chemistry, zoology, botany, etc., which contain the notes of his youngest son Nikolai. Being a highly educated person, Valuev appreciated good textbooks: not only he acquired them for his son, but also stored them in his library, despite the remaining traces of Nikolai's diligent work with these books during his studies. The content of the collection","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77025476","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}
S. Pomorov, S. Prokhorov, Alexander V. Shadurin, N. S. Prokhorov
The purpose of our exploration is to investigate the computer technology impact on the development of art component in the modern design and engineering education. This is a case in the first instance of traditional arts such as Drawing, Painting and Sculpture. The thematic justification there is to analyse transformation trends of art image creation in a changing development context in the design area. The evolving methodological modern concept requires preservation and development the evolution way of things from its realistic perception (image) to its usage in the capacity of artistic tools and modern information technology tools. It would be instructive to examine the painting methodology of such authors as Nikolai Beschastnov, Vadim Kulakov, Irina Stor, Yuriy Avdeev, Gusein Guseinov, Victor Dyminskiy, Aleksey Sheboldaev (Painting), Yuriy Kirtser (Drawing and painting) as well as the legacy of classic and modern painters. In process of training painting and decorative transformations, information technology adaptation and appliance aim to educate high-level designers and architects. Careful study of nature combine with information technology art tools – this is a key stone of student training of Fine Arts departure of Institute of Architecture and Design Altay State Technical University. Perfect art skills together with technical achievements provides an opportunity to expand and enrich creative potential in carrying out tasks of any kind of complexity importing an art component in the modern design culture. Interest in information technology in a class-room environment Drawing-Painting-Sculpture is no doubt. It’s fascinatingly for students. New methodologies of Institute of Architecture and Design test and endorse in several subjects: Painting and Coloristics, Drawing, Colour transformations in design culture. Based on methodological experiments developed in Fine Arts departure of Institute of Architecture and Design Altay State Technical University and other Russian universities authors suppose that the modern information technology impact on new art architect training methodologies, student abilities for abstract creative reasoning, preserving art component legacy in architect education.
{"title":"ARCHITECTURE AND DESIGN: SUBSTITUTION IN ART TRANING OF DECORATIVE DISCIPLINES IN PROJECT FIELD","authors":"S. Pomorov, S. Prokhorov, Alexander V. Shadurin, N. S. Prokhorov","doi":"10.17223/22220836/42/17","DOIUrl":"https://doi.org/10.17223/22220836/42/17","url":null,"abstract":"The purpose of our exploration is to investigate the computer technology impact on the development of art component in the modern design and engineering education. This is a case in the first instance of traditional arts such as Drawing, Painting and Sculpture. The thematic justification there is to analyse transformation trends of art image creation in a changing development context in the design area. The evolving methodological modern concept requires preservation and development the evolution way of things from its realistic perception (image) to its usage in the capacity of artistic tools and modern information technology tools. It would be instructive to examine the painting methodology of such authors as Nikolai Beschastnov, Vadim Kulakov, Irina Stor, Yuriy Avdeev, Gusein Guseinov, Victor Dyminskiy, Aleksey Sheboldaev (Painting), Yuriy Kirtser (Drawing and painting) as well as the legacy of classic and modern painters. In process of training painting and decorative transformations, information technology adaptation and appliance aim to educate high-level designers and architects. Careful study of nature combine with information technology art tools – this is a key stone of student training of Fine Arts departure of Institute of Architecture and Design Altay State Technical University. Perfect art skills together with technical achievements provides an opportunity to expand and enrich creative potential in carrying out tasks of any kind of complexity importing an art component in the modern design culture. Interest in information technology in a class-room environment Drawing-Painting-Sculpture is no doubt. It’s fascinatingly for students. New methodologies of Institute of Architecture and Design test and endorse in several subjects: Painting and Coloristics, Drawing, Colour transformations in design culture. Based on methodological experiments developed in Fine Arts departure of Institute of Architecture and Design Altay State Technical University and other Russian universities authors suppose that the modern information technology impact on new art architect training methodologies, student abilities for abstract creative reasoning, preserving art component legacy in architect education.","PeriodicalId":41702,"journal":{"name":"Vestnik Tomskogo Gosudarstvennogo Universiteta-Kulturologiya i Iskusstvovedenie-Tomsk State University Journal of Cultural Studies and Art History","volume":"20 4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77799627","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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