DOI: 10.7256/2454-0625.2024.2.69753

EDN: ADDJPM

Abstract: This article is part of a larger study of design as a cultural phenomenon. In this part of the study, the author examines the process that is currently taking place in the semiotic structure of design, associated with the active introduction of neural networks into the creation of visual content. Artificial intelligence products stylistically take the design away from the fourth-order simulacrum (from the flat design style) and return the design to using the third-order simulacrum as the main iconic form.The object of the research is the transformation of the semiotic design system. The subject of the study is a return to the third–order simulacrum in modern design. The purpose of the study is to show and try to explain how in modern design there is a return to the use of a third-order simulacrum. The research method is a semiotic analysis of modern design based on the methodology of R. Barth's semiotic analysis. The study is also based on J. Baudrillard's theory of semiosis in hyperreality and three orders of simulacra. The author sees the philosophical justification of the art of neural networks in the concept of flat ontologies. The study of the semiotic structure of design allows us to see that the logic of design development carries this phenomenon through successive stages of semiosis associated with a decrease in meaning and a diminution of being. In its development, the design consistently uses first index signs, a second-order simulacrum, then a third-order simulacrum as the main sign form. Nowadays, the main iconic form in design has become a fourth-order simulacrum. Next, design had to either end as a profession and phenomenon, or move into a new cultural paradigm that was not related to simulation. However, unexpected transformations have begun to occur in design, due to the active involvement of non–human agents - neural networks – in the creation of visual content. Neural network products are a typical example of a third-order simulacrum. Thanks to the use of neural networks, modern design finally acquires the vector of transhumanism and closes in simulation.

DOI: 10.7256/2454-0625.2024.2.69800

EDN: EXIXHP

Abstract: The object of the research is performance as a theoretical and methodological basis for the preservation of folk songs in the modern world. The subject of this work is a variety of tools for translating sources through the use of interpretation through vocal arrangements. The purpose of this study is to find performance techniques for comprehending the folklore of the Kuban Cossack song, illustrative popularization of the real listener through a new reading of the original source. In identifying the substantial foundations of song performance, special attention is focused on the music collections of folklorists V. G. Zakharchenko (born 1938), A. D. Bigdai (1855-1909), G. M. Kontsevich (1863-1937), who made a significant contribution to the foundations of the Kuban Cossack folk singing art. Along with this, the analysis of a wide range of vocal arrangements in the practice of professional and amateur vocalists provides a postulation about the ambiguity of interpolation in the formation of an original reading of folklore documents. The theoretical justification of this study is based on the tactics of analyzing endemic folklore singing concepts in the context of the art history dynamics of modern research. The methodological core of the work identifies the elements of preserving traditional performance through the vocally processed embodiment of Kuban Cossack folk songs. The author's direction has been developed in the complex of the constituent elements of the arranging performance, based on the personality of the vocalist, containing an individual interpretation of the performing plurality. The performing techniques of folklore Cossack sources has been formed. Exceptional accents are identified in the analysis of musical folklore sources (selectively) to establish new technical characteristics of performance. The scientific novelty of the research lies in the genesis of Cossack culture for the author's constructive orientation of ways to preserve and transform musical material to a modern listener. The characteristics of the song material according to the genre-performing component, expressed by the system of mechanisms of performance by vocal-performing solutions, are revealed. The derived orientation of the translation mechanisms opens up new facets of the performance of Kuban Cossack folk songs for the preservation of traditions with multifaceted options for the transformation of folklore documents for subsequent generations.

DOI: 10.7256/2454-0625.2024.2.69920

EDN: RPGRTT

Abstract: The subject of this article is the activities of Academician Alexander Konstantinovich Krylov - Academician of the Russian Academy of Arts, Honored Artist of the Russian Federation, painter, laureate of the International Prize named after N.K. Roerich, as a teacher and educator. This is a study of the contribution of Academician Alexander Konstantinovich Krylov to the development of education and science, his teaching methods, pedagogical and educational principles. The author examines in detail the scientific, teaching, social, and creative activities of A.K. Krylova and pays special attention to the educational activities of the academician. The author also presents a complete list of institutions that, according to the State Catalog of the Museum Fund of the Russian Federation and data provided by the artist himself, store his works. The research methodology is presented by the historical method, biographical method, and comparative method. Also, during the preparation of the article, a study was conducted on the basis of archival documents, publications, and pedagogical works of A.K. Krylov and his students. The main conclusions of the study are the creative portrait of the artist presented in this message, which has independent cultural and historical significance and expresses the deeply personal attitude of the author, who hopes that the information and characteristics he collected will be useful to future biographers of the outstanding Russian artist, academician of painting A. K. Krylov. The novelty of the research lies in the generalization of the creative materials of Academician A.K. Krylov, which can be in demand by aspiring artists, art historians, cultural experts, historians and everyone who cherishes the tragic and happy milestones of the steady spiritual growth of Russia - in the past, present and future.

DOI: 10.7256/2454-0625.2024.2.68948

EDN: VCIPUL

Abstract: The subject of this article is the semiotics of a painting as a work of art. The object of the study is the functioning of the title of a painting as a sign constituting its semiotic space. At the same time, the picture itself is considered as a complex sign that carries out a special kind of communication between the sender and the recipient. The main conclusions of the study are the thesis that semiosis occurring in the process of interaction between the viewer and a work of art is largely based on the artionymic text, as well as the conclusion that follows from it that, despite the generally accepted characteristic of modern culture as a visual culture, the text continues to play an important civilisational role as a conductor and keeper of various kinds of information. When decoding a message conveyed by the complex sign “painting”, under the conditions of limited perception time, the recipient tends to extract information and interpret it through a textual channel (i.e. through an artionym). The novelty of the study lies in considering the artionym not only as a small-format text, but also as a sign involved in the transmission of information in the situation of perceiving a painting by the recipient.

DOI: 10.7256/2454-0625.2024.2.69657

EDN: VDWHTL

Abstract: The subject of this article is the traditional cuisine of the Buryat people, the object is the ethnocultural identity of the Buryat population of the Trans–Baikal Territory. The author examines in detail such aspects of the topic as ethnocultural markers of the ethnos, traditions and cooking technologies, observance of the ancestral features of the national cuisine, recipes existing in the territory of the region and its individual parts. The author partially presents the developed theoretical materials concerning the issues of Buryat cuisine and thematic interviewing materials collected as part of expedition trips to the territory of the Aginsky district of the Aginsky Buryat district of the Trans-Baikal Territory, including the technology and recipe for cooking traditional Buryat dishes. The author lists the forms of events (festivals and holidays) that exist in the region, popularizing the traditional cuisine and culture of the Buryat population of the Trans-Baikal Territory. The main method of research was the analysis of thematic literature and materials, interviewing speakers of traditional culture within the framework of expedition trips. As the main conclusions, the author cites expediency, rationality, geographical and climatic features, conditions and place of residence of ethnic communities as main factors of shaping the local cuisine. And today, thanks to scientific and technological progress, ethnic identity, including in traditional cuisine, is gradually decreasing or disappearing completely. Therefore, the issue of fixing and transferring ethnic culture, including traditions, customs, etc., to future generations in order to preserve their ethno-cultural identity, is acute. Many people do not realize how important and existential this can be for some people who live and think through the prism of their ethnicity.

DOI: 10.7256/2454-0625.2024.2.69723

EDN: VMRVHA

Abstract: The object of the study is the formation of an image in cinema. S.M. Eisenstein defined cinema as a comparison of two methods: the method of image and the method of figurative formation. The image in the cinema is the "image of becoming". The purpose of the study is to trace the evolution of views on the "image of becoming" from G. E. Lessing to G. V. F. Hegel and S. M. Eisenstein. The author refers to the origins of the formation of the "image of becoming", the teachings of G.E. Lessing and G.V.F. Hegel, who had a great influence on S.M. Eisenstein. G.E. Lessing determined that the methods of studying spatial and temporal arts are different. The method of image is a method inherent in spatial arts, the method of becoming is inherent in poetry as a temporary art. G.E. Lessing gave primacy to the method of becoming. G.V.F. Hegel dealt with a similar problem, he formed the doctrine of the "image of becoming" that arises in time. The research is based on the principle of image birth, developed by S.M. Eisenstein, according to whose teaching, an image is born in a montage. Comparative and semiotic methods are used in the study. The scientific novelty of this study lies in the research of the continuity of the doctrine of the "image of becoming", in the study of S. M. Eisenstein's innovation in this matter. According to S. Eisenstein, cinema is a synthetic, space-time art. It is associated with spatial arts, fine arts, architecture, sculpture, as well as with temporary ones: music, poetry. Cinematography is based on the "Dionysus method", which makes cinema related to other forms of play. According to S. Eisenstein, a movie frame is an assembly complex, it has its own design and composition, which makes it related to spatial types of art, as well as rhythm, which makes it related to the arts. Cinema is a complex system of images and signs. S.M. Eisenstein defines cinema as a field of language. The formation of an image in a movie takes place in time.

DOI: 10.7256/2454-0625.2024.2.43616

EDN: VNZTGB

Abstract: As an important aspect of urban development, urban waterfront landscapes not only serve as significant reflections of the urban image, but are also key factors in attracting tourists and stimulating the development of the tourism industry. As the exclusive cultural resources of the city, regional culture plays an important role in the design of urban coastal landscapes. This article examines the integration of regional culture and the design of urban embankment landscapes and presents several aspects that require careful attention in the design process. Specifically, designers should study local regional cultural elements in detail and introduce them into the urban waterfront landscape so that people can appreciate the uniqueness and significance of local culture. In addition, in the design, it is necessary to carefully consider the scale, amenities and related services of the city in order to create a comfortable, unique and multicultural urban waterfront landscape. This article also offers recommendations for overcoming limitations and future research, as well as discusses market prospects and the commercial value of this design and operational model of urban embankment landscapes, primarily satisfying the spiritual and cultural needs of people.    In this paper, proposals and measures are proposed to integrate regional culture into the landscape design of urban embankments in order to create more distinctive, comfortable and pleasant to perceive landscapes of urban embankments. Thanks to the rational use of local culture in combination with the needs of tourists and local residents, it is possible to satisfy various cultural features and needs by creating a landscape design of the city embankment, rich in diverse cultural impressions. In the future, such landscape design and the mode of operation of city embankments, aimed mainly at meeting the spiritual and cultural needs of people, has great prospects for development.