DOI: 10.7256/2454-0625.2024.1.69568

EDN: PSNGKN

Abstract: The object of the study is the cultural space of the city. The subject of the study is the morphological properties and mythological plots of the cultural space of the city (using the example of Komsomolsk-on-Amur). The author examines in detail the complex study of the cultural space of the city in the prism of historical-cultural, philosophical-cultural, psychoanalytic, symbolic, linguistic and semiological approaches. The author's method of exploring urban space has been formed, based on the line of myth (lemniscata Bernoulli). Literary and artistic works have been studied and reviewed to identify archetypal models and their morphological properties of the city of Komsomolsk-on-Amur. Some mythological plots and ways of transforming cultural space are revealed. Special attention is paid to the analysis of artistic texts to identify the artistic image of the cultural space of the city. The description of a number of architectural objects and the interpretation of some decorative elements are presented. The study uses traditional approaches to the study of the cultural space of the city, and also attempts to complement the boundaries of the study based on the interpretation of mythical plots, mythologems using a technematic component – the Bernoulli Lemniscate. The scientific novelty of the research lies in the fact that on the basis of traditional and technematic approaches, the cultural space of the city of Komsomolsk-on-Amur is studied based on the analysis of mythological plots of the city of Komsomolsk-on-Amur, artistic texts, literary and architectural works. The morphological properties of the cultural space of the city are revealed. The main conclusion of the study is that using an interdisciplinary approach in the study of the cultural space of the city, opportunities for its identification have been identified. With the help of technematics or mathematical analysis, interpretation of literary and artistic texts, as well as a comprehensive study of architectural objects and its decorative, expressive means, it became possible to interpret this knowledge as a way to transform the cultural space of the city. This study opens up opportunities for a more thorough study of the myth line as one of the possible options for transforming the city's space, preserving historical, architectural, artistic and literary heritage.

DOI: 10.7256/2454-0625.2024.1.69643

EDN: MYDDAS

Abstract: The object of this research is the organization of visual culture in a vertically oriented paradigm. The subject of the study is the eidetic hierarchy as the basis for the organization of the visual environment in a vertically oriented paradigm. The purpose of this study is to explicate the eidic hierarchy as the basis of aesthetic representations in a vertically oriented paradigm. Modern culture has come to full aesthetic relativism under the influence of modernism. Today, everything is acceptable in art, so artists and designers are actively being forced out of the profession by neural networks. Neural networks are the product of a horizontally oriented culture in which any objects are recognized as equally valuable, since there is no appeal to the super-object. Therefore, today it becomes relevant to shift the focus of research attention to the opposite organization of culture – vertically oriented, recognizing transcendent reality. Such a culture should have clear criteria of art, determined by the eidic hierarchy. In distinguishing the vertically oriented paradigm, the author relies on A. G. Dugin. The author's main method is semiotic analysis, which makes it possible to see the transcendent signified in culture. The author also relies on Plato's teaching about the eidetic hierarchy of being. The main conclusion of the study is that in the vertical oriented paradigm there is a clear aesthetic hierarchy, which is absent in culture today due to its horizontal orientation. The vertically oriented paradigm is associated with the idea of the eidic hierarchy of being. The canon, which has been developing for centuries, has been a tool for depicting the eidic forms of things, not phenomena, but noumens. Reorientation to the presence of a super-object can be an opportunity to preserve the profession of an artist and art itself from aesthetic relativism.

DOI: 10.7256/2454-0625.2024.1.39661

EDN: MCESPL

Abstract: The subject of this study is current projects (installations, paintings, sculptures, performances) by contemporary South Korean artists that contain symbols, elements or cultural artifacts related to the local identity of the country. The article attempts to identify the main themes, motifs and techniques that are used in Korean contemporary art to emphasize the issues of the nation's self-identification within the global themes and problems of the modern world. To achieve this goal, the main South Korean artists recognized by the world art community (Kimsuja, So Do Ho, Lee Soo Kyung, Kwang Yong Chan, Pak Chang Kyung, Ham Kyuna, Yoon Seongnam) are singled out, whose work is directly related to the traditional cultural elements of their country. Their projects, themes and techniques are explored from the point of view of the interaction of global and local processes in modern society. The relevance of the work lies in an attempt to identify the unique processes taking place in contemporary South Korean art. Point studies of Asian artistic culture often include either the study of the creative path of individual artists, or the consideration of the main trends and trends. In this paper, an attempt is made to look at South Korean art from the point of view of topics and technologies that are inherent only in local Korean culture, and to identify points of contact with global issues and problems. This is the scientific novelty of the study. A number of contemporary South Korean artists create works of art based on their life experiences, directly related to the traditions of their country. Themes related to the search and reflection of cultural identity and self-identification arise in their works. The work uses both general scientific research methods: analytical and comparative, and a special method of art history: structural-functional.

DOI: 10.7256/2454-0625.2024.1.39563

EDN: CIVYIA

Abstract: The subject of the study is the fundamental methodological principles of teaching students graphics, animation and computer graphics artist by the Department of Graphic Art and Communicative Design of the Institute of Media Communications, Media Technologies and Design: the principle of step-by-step creation of a drawing, its implementation from integral to elementary and vice versa, the principle of structural analysis of the transfer of form in drawing, active methods of attracting to strengthening mental activity, manifestation of creativity; in-depth study of the depicted nature; the use of visualization, problem statement, systematic organization of full-scale productions, joint discussions of completed works, comments of the teacher, spatial thinking, compositional construction; independent work. Purpose of the study is the application of methodological principles in working with students. Methods of the study are scientific, historical experience of development, application of methodological principles. Results of the study: the methodological principles of teaching drawing are partially implemented in the course of training an animation and computer graphics artist. Some shortcomings in working with applicants and first-year students have been identified. Not all stages of training of students from applicants to the last courses, their professional formation in the field of drawing are considered yet. The scope of application of the results: students of the field of training graphics, animation and computer graphics artist. The novelty is that these principles are applied specifically to this field of study. Conclusions: The methodological principles of teaching drawing for university students are investigated. The necessary methods and methods of education are highlighted. The necessity to trace the application of these principles from the first course to the last is revealed.

DOI: 10.7256/2454-0625.2024.1.69565

EDN: CKUVCI

Abstract: The network of literary museums in Moscow is the largest in the country. The article examines the history of the formation and present condition of the network of literary museums in the capital in the context of the historical and cultural process. The chronological framework covers the period from the 19th century until now. This is due to the moment of the appearance in Moscow of the first proto-museum forms of literary museums, the first museums of this profile, as well as the formation and development of their network. Significant historical and cultural prerequisites for the emergence of museums of this profile are identified. The main periods in the history of the formation and development of the network of literary museums are considered in the context of the periodization of the history of museum affairs and the historical process in the country. Museums that also have characteristics of another profile, such as historical and literary, literary and artistic, and literary and local history, are also considered. The total number of literary museums in Moscow has been identified, including state, municipal, departmental, public, private and school. Museum-type institutions representing and popularizing literary heritage are shown. Museums of other profiles (music, art, local history and others) are indicated, the funds and exhibitions of which contain literary monuments and collections of rare books. A special place is occupied by book museums, which are not literary museums, but are close to them in that their collections also contain monuments of literature (including fiction). The total number of literary museums in the capital and their percentage in the museum network have been calculated.

DOI: 10.7256/2454-0625.2024.1.69444

EDN: CLZCGE

Abstract: The article deals with the problem of the world–in–itself being closed to our perception due to the inevitability of human subjectivity in the process of cognition of the world. In the philosophy of positivism and speculativism, the thesis of the fundamental unknowability of reality allows us to deduce an entire aspect of the world that is inaccessible to perception by analytical methods. This part of the world, by virtue of its fundamental concealment, resists all rational cognition, but, nevertheless, it can manifest itself in a special way that has more in common with mystical experience than with objective cognition. The purpose of the article is to offer a figurative language of the cinema texts of the cosmic horror genre as a way to think of the world–in–itself, otherwise inaccessible to cognition. The analysis is based on the example of two texts – "Through the Horizon" (dir. Paul W. S. Anderson, 1997) and "Hell" (directed by D. Boyle, 2007).  A systematic film analysis was chosen as the research method. Screen works are analyzed from the point of view of how the subject of this research is revealed through the structural elements of film production. The main conclusions of the study are the theses that screen works in the horror genre, in particular space horror, can be used as a way to think about an aspect of the world that is inaccessible to knowledge by rational methods. This is possible due to the fact that the fundamental concealment of the world–not–for–us, on the one hand, makes it inaccessible to traditional analysis, and on the other hand, brings it closer to mystical experience. Films of the cosmic horror genre, and especially those that are the successors of the so–called Lovecraftian tradition, use characteristic frightening imagery to evoke in the viewer a feeling of the otherworldly, mystical, to create the same feeling of the creepy that occurs when the world-not–for–us manifests itself. But besides the images, the very structure of the film's narrative and its means of expression work to direct the viewer's thought towards understanding this strange world hidden from us.

DOI: 10.7256/2454-0625.2024.1.69614

EDN: COTHJL

Abstract: The work of Erik Satie, his value assessment, as well as the peculiarities of the author's non-normative artistic thinking have repeatedly become the subject of musicological discussions, but still a number of his artistic discoveries in different genre areas remain out of the researchers' field of vision. The proposed article analyzes the French composer's ballet work, which became a space of experimentation in the process of searching for a new image of a musical-choreographic performance. The material of the study includes not only the odious "Parade", which became a manifesto of the "new art", but also four other works by Erik Satie in the genre of ballet, without the study of which it is impossible to draw a complete picture of this sphere ("Uspud", "The Adventures of Mercury", "Eccentric Beauty", "The Spectacle is Canceled"). Their consideration from the point of view of the evolution of the author's approach to the creation of music for a ballet performance, as well as in the aspect of revealing content-semantic, compositional-dramaturgical and stylistic innovations, is the subject of research in this article. In the process of studying the problem, a comprehensive approach is applied, combining comparative and cultural-historical methods with theoretical and analytical tools of musicology. In the course of the analysis, the author comes to the conclusion that all components of the artistic whole of a ballet performance undergo transformation. At the narrative and semantic level, there is a gradual rejection of the traditional libretto, procedurally revealing the fabula of what is happening on stage, in favor of a small script plan, often without development and cause-and-effect relationships between episodes. The compositional and dramaturgical solution of the ballets is based on the suite, which is the root of the genre, but interpreted in a modified form, with the active involvement of combinatorics and montage. The musical and stylistic appearance of the performances is also often determined by an "anti-academic" concept characteristic not only of this genre, but also of Erik Satie's work in general. The sound space of the composer's ballets is highly heterogeneous and represents a mix of academic musical traditions with the culture of everyday life, both musical (music hall, cabaret, jazz) and extra-musical (the use of everyday objects reproducing the noise of the urban environment in the score of Parade).