Culture and Art - rubric Culture and science

Abstract: The article is devoted to the revival of esthetics at the end of 1950th. The background for such a revival was rehabilitation of avant-garde in art at the beginning of the 20th century not only in the Soviet Union but also all over the world. It was particularly expressed in the spirits of the ‘thaw’ epoch. Esthetics was aimed at overcoming dehumanization. Discussions of this topic (which played an important role for western existentialism) involved early works of Karl Marx which touched upon the issue of ‘estrangement’. Renovating esthetics demonstrated an expansion of the utilitarian into the sphere of esthetics which contradicted to the idea of William Morris about estrangement of culture from society. In such a situation esthetics of early epochs in history became very topical.

Keywords: cultural studies, esthetics, post-culture, esthetical renaissance, dehumanization, avant-garde in art, estrangement, Mediaeval esthetics, symbolic forms of expression, Plato’s discourse.

DOI: 10.7256/2454-0625.2018.4.25541

Abstract: The article is devoted to activity of repressed Buryat writers of the 1920 - 1930's viewed from the new methodological positions. Practically to the end of the 1980's, the main criterion for evaluating their social and creative activity was 'political' accusations. The author of the article pays special attention to the process of rehabilitation when culture activitists whose names were eliminated from the history as a result of repressive policies return to the academic literature. The methodological basis of the research is the axiological approach, the main research methods include historical-cultural, retrospective, descriptive methods and analysis. The objective analysis of social-political and national-cultural activity of Buryat intelligentsia should include full and, if possible, completely new reconstruction and interpretation. This, in its turn, provides big opportunities for methodological experiments and allows to restore historical justice in relatin to Buryat culture activisits who tried to preserve national values when the socialist culture was developing.

Keywords: repressed writers, bourgeois nationalism, repressive policies, national intelligentsia, Buryat culture, socialist culture, national culture, historical justice, rehabilitation, rehabilitated culture

DOI: 10.7256/2454-0625.2021.6.35875

Abstract: This article explores and systematizes the exhibition of chandeliers as the unique art objects within the museum space, as well as reveals the peculiarities in comparison with the interior space. The subject of this research is the display of such multi-component item of decorative and applied art as chandelier in the modern exhibition projects. Based on a range of exhibitions held in the XX and XXI centuries dedicated exclusively to chandeliers and ceiling lights, the author conducts their classification, and reveals the peculiarities of displaying chandeliers in such projects. The representative examples of exhibition projects are considered. This article is to analyze and systematize the experience of exhibiting chandeliers, which is especially relevant because the topic of studying chandeliers as part of the interior is of particular interest among not only scientists, but the artists and curators as well. The conclusion is made that in the most successful projects, the chandeliers are displayed at eye level of the visitors, which allows studying more details about the item. Chandeliers are displayed either as the unique objects, or together with other antique and luxury items, harmonizing on the formal stylistic or historical level, and indicating the modes of stylistic perception of the interior as a reflection of culture of a certain era.

Keywords: curatorship, exhibition program, interior, decorative and applied art, exhibitions, exposure, chandelier, optical solutions, light, collection

DOI: 10.7256/2454-0625.2020.1.31956

Abstract: In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.

Keywords: movie function background, multifunctional film music task, domestic cinematography, film music, offscreen music, keynote system, synthesis of arts, dramatic role of film music, musical leittheme, cinema

DOI: 10.7256/2454-0625.2023.3.38068

Abstract: The article is devoted to the study of the problem of transcendental experience, by which the authors understand various forms of consciousness going beyond the studied forms of human experience and cognitive practices. The problem of transcendental experience is posed as a complex one. The comprehensive approach includes the history and theory of Western European thought, the Russian philosophical tradition, and modern research. An attempt is made to problematize the possibility of integrating theological, philosophical and scientific research in this area. Special attention is paid to the cognitive aspect of the problem of transcendental experience. In this paper, the authors limit the scope of the research to the methodological task of the possibility of interdisciplinary and transdisciplinary studies of transcendental experience. The authors adhere to a post-non-classical methodology covering humanitarian campaigns and the results of natural science experimental research. The position of the embeddedness of transcendental experience in the general system of human cognitive abilities is confirmed. Transcendental experience can be considered as a qualitatively higher degree of "openness" of consciousness to the world, which implies the immediacy of perception of the object. The transcendental experience is characterized by a great depth of penetration into the object, accompanied by the experience of merging the "I" and the object, and in the limit of the "I" and the world. In the cognitive-evolutionary aspect, it is appropriate to raise the question of a new stage of transformations of consciousness. The following criteria for distinguishing genuine and false transcendental experience are proposed: reliance on a developed picture of the world; the addition of direct experience with rational reflection; spiritual/anthropological transformation as the ultimate goal of this experience; the obligation of moral self-transformation; guidance by a student from a spiritual teacher, a follower of this tradition.

Keywords: cognitive sciences, the science, russian philosophy, foreign philosophy, theology, transcendental experience, false transcendental experience, mystical experience, religious experience, transdisciplinarity

DOI: 10.7256/2454-0625.2020.7.33362

Abstract: The question of understanding of corporeality in philosophy, science, medicine and culture goes back centuries and remains relevant until the present. This relates mostly to anthropological challenges of the crisis technogenic civilization that is trying to improve human nature, without understanding of its holism, taking into account existential issues of hybrid man-machine systems and socies, virtual and cyber-physical umvelts, within which corporeality becomes more of an atavism and a deterrent for the rapid worlds managed by the powerful artificial intelligence. In philosophy of the XX century, the understanding of generalized corporeality is associated primarily with the phenomenological project of E. Husserl and its advancement in the works of M. Merleau-Ponty, French poststructuralists A. Artaud, G. Deleuze, F. Guattari, who conceptualizes the idea of generalized corporeality in cultural terms, rather than in natural science. The author proposes the introduction of the ontologies of generalized corporeality based on differentiation of its functional manifestations in communication and theatrical art, referring to the modern representations on the mechanism and their potential implementation on the level of physiology and mental sphere of personality, as well as on the level of substantial factors of biology, psychophysics and robotics. For these purposes, the author attracts the concepts of synergetics and quantum theory as the grounds for such functional ontologies; at the same time, full ontology of generalized corporeality is presented by direct product of the ontologies of states and temporal ontologies of physical and mental processes of a human, which allows creating a semiotics of corporeality of acting or anthropomorphic avatar-robot. The article explores the boundaries of emulation of human corporeality by the modern means of IT technologies, and the question of unattainability of many creative and spiritual sub-bodies of a person using technical means.

Keywords: temporal ontologies, state ontologies, quantum psychology, generalized corporeality, self-organization, Anthropology, artificial intelligence, hybrid reality, directing, acting

DOI: 10.7256/2454-0625.2015.1.13481

DOI: 10.7256/2454-0625.2015.1.65878

Abstract: The subject of the research is the prospects of the development of Russian film studies taking into account cause-and-effect dependencies inside the structural-functional bond ‘Film studies – Russian cinematograph – State support’. In particular, the authors analyze the following issues: the level of the development of national cinematograph as the precondition for the development of national film studies, objective need of the state to finance searches for movie ideas depending on the audience demand for national films, actual directions of solving issues of film studies, stages and drivers of film evolution in the Soviet and post Soviet periods, modern challenges for film studies, the need for rethinking over the object and subject of film studies, search for the theoretical consensus between science of screen art and state apparatus regarding the nature and mission of cinematographic art, development of researches aimed at creation of internally integrated multi-disciplinary ‘big science of cinematograph’ (N. Lebedev), importance of intellectual assets that are used for searching for an efficient strategic direction for the development of Russian motion-picture industry. In terms of theory and methodology, the analysis of the aforesaid problems is based on the idea that all national film studies can develop only when they have the following preconditions for the development: film studies have an autochthonous and developing object of research, i.e. motion-picture process that has roots in national culture, government must financially and morally encourage searches for movie ideas and film studies must be useful for both national screen culture and the government as an investor. These objective preconditions are created during the interaction of the three institutions – Russian cinematograph, film studies and the government supporting them. Theoretical and social-practical contribution of film studies and opportunities for the development of film studies depend on the adequate understanding of cause-and-effect consequences in this triangle. Prospects for further development of national film studies as the part of the outlined structural-functional bond are being viewed for the first time in Russian science. The authors concludes that there is a need for a drastic shift of research interests towards solution of the nettlesome problems of national cinematograph. The present market share of Russian movies is quite low which creates a threat for the national film industry, the system of training film workers of the highest proficiency level and national science of cinematograph.

Keywords: Screen culture, national film studies, preconditions for development, Russian cinema, market share, picture of the world, cultural identity, state film policy, film policy in general, the science of cinematograph.

DOI: 10.7256/2454-0625.2019.5.29522

Abstract: The article discusses a crisis in mathematics. The problems of origin, essence, and justification of mathematics are analyzed. The author presents the concept of mathematics, based on his research in mathematics, including ideas about the "starting subject areas" of mathematics, its constructive basis, the conceptualization of mathematics, the mechanisms of its development. The author shows that mathematics constitutes a complex sphere of activities and the institution of modern, and that is why there will inevitably appear contradictions, as well as the activities for their solution and justification. In the research, the following methodology is used: problem formulation, situational analysis, comparative analysis, construction of new concepts, cultural and historical reconstruction. As a result of the study, it was possible to build a methodological concept of mathematics, discuss the nature of the crisis of mathematics, show that the program of justification of mathematics could not be implemented, and mathematics is facing the task of a new reform. These results are based on the author's genetic and methodological studies of mathematics.

Keywords: challenges of the time, problems, subject, substantiation, crisis, mathematics, community, institution, history, modernity

Abstract: Being the follower of the literature-centered outlook on the basic, fundamental cultural phenomena, the author disseminates his approach and views on interdisciplinary interaction between culture (in particular, literature) and humanitarian disciplines. The author proposes a hypothesis about literature-determinated genesis of sociology and, going even further — the entire class of humanitarian sciences. Having performed an insight into the development of the thesis, the author tries to prove the close gnoseological relation between literature (documentary literature in the fi rst place) and social science.

Keywords: literature, sociology, divergence, convergence, determinism, physiologism, essay, perception, cogni tion, hyper language, mega science, stylistics, written reproduction, interdisciplinary interaction, innovativeness, transformations.

Abstract: The article shows an important role of Yu. V. Knorosov’s scientifi c school which is recognized and respected all over the world. Yury Knorosov did not only develop the theory and method of ancient writing decryption but also proved it to be successful in interpreting Maya hieroglyphic writing). The article is also devoted to the Yu. V. Knorosov Mesoamerican Center at Russian State University for the Humanities and Knoro zov Center in Shkapet which was established in the year of the 120th anniversary of diplomatic relations between Russia and Mexico. These centers successfully develop this branch of science and conduct leading researches in the spheres of Maya epigraphy, language studies, history of ancient America, native American studies, models of civilization-based development, local cultural peculiarities of Latin America, religious consciousness, communication models and social development.

Keywords: cultural studies, Yury Knorosov, decryption method of Ancient writing systems, Maya scripts, Shkaret, writing traditions, Knorozov Center in Shkaret, archeological and epigraphic project El-Tortuguero, linguistic project ‘Origin of Mesoamerican Writing. Decryption Challenges’, ‘Corpus of Read Maya Scripts’.

DOI: 10.7256/2454-0625.2017.8.23857

Abstract: Object of research is the aleatory form in 20th century music organized by means of numbers and numerical rows which are mainly specially composed by authors of works. Using numbers and rows as constructive determinants, composers solve a problem of forming of works with the mobile musical text and structure. Special attention is paid to concrete works and their internal organization, making a mobile form united. The main conclusion of the research is the fact that the aleatory principle influencing forming demanded application of additional musical and extra musical resources of form organisation, and the numerical method was one of the most effective. The novelty of a research consists in descovery the organizing numbers and rows hidden in the musical text and not mentioned earlier by neither composers, nor researchers, externally itself, sometimes, not showing in any way.

Keywords: row, organisation, number, chance, form, composition, aleatory, music, piece, composer

DOI: 10.7256/2454-0625.2020.10.34037

Abstract: This article offers the concept of culture based on the authorial version of semiotic and environmental approach. The stages of the author’s culturological research are outlined: from the semiotic concepts of “Moscow Methodological Group" to the extensive interpretation of semiotic and environmental approach, in which the core of semiosis is the patterns, and namely semiosis sets the human living environment. Based on these facts, a new interpretation of culture is proposed. At the same time, the author differentiates two types of cultures: 1) the main subject is the social collective and collective individual inseparable from the collective; 2 a person appears on the scene of history, and culture consists of the three types of individuals ‒ collective individuals, individuals, and intermediaries between individuals and collective individuals. It is underlined that since the antique culture, an important role in cultures is played by intermediaries (philosophers, pedagogues, politicians, artists), as well as by various forms of communication. Antique culture also marks differentiation of two forms of world development, one based on the creation of patterns, and the other – on modeling and scientific examination (the latter includes schematization of reality as one of essential moments). Leaning on such division, the author discusses the peculiarities of patterns and models, as well as cognition based on modeling. The theoretical and methodological reasoning and hypotheses are confirmed by the analysis of cases and structuring of methodological patterns. The article provides a sketch of the genesis of cultures from antiquity to modernity, and crisis of the latter.

Keywords: schemes, development, individual, personality, man, culture, signs, semiosis, environment, modern

DOI: 10.7256/2454-0625.2018.12.28121

Abstract: In this research Morozova focuses on the Russian culture and Russian research of art, the subject of the research is the Russian research of Spanish art. She examines such aspects of the topic as the determinancy of directions, themes, range of problems, methodological approaches of the Russian cultural research and Russian research of Spanish art to Russian cultural paradigms. The researcher has chosen to study Spanish art as a particular case of art history. This has allowed the author to make grounded conclusions because there are a lot of researches on the history of Spanish art available. The conclusions based on the analysis of Spanish art are carried over the Russian art history in general. The author analyzes the socio-cultural factors of the art history and describes particular stages of its development as well as provides a description of each stage. She also analyzes the development of the research of Spanish art in terms of the socio-cultural environment. According to the researcher, it is not enough to study internal or immanent factors of the Russian history art evolution to understand the actual shifts and transformations happening there. Only the analysis of the Russian history art development from the point of view of the Russian cultural paradigms may explain the nature of those changes and transformations. The novelty of the research is caused by the fact that the author's predecessors focused immanent or intrascientific factors of the Russian art history and Russian research of Spanish art development which is not enough to explain the changes in the process of the cultural research development that influenced the choice of styles, artists, master pieces for the research and their evaluation. Morozova analyzes socio-cultural factors of the development of the Russian cultural research based on the example of the Russian research of Spanish art. The main conclusion made by the author is her statement that the development of the Russian cultural research has always been determined by the Russian cultural paradigms.

Keywords: Zurbaran, Murillo, Ribera, Goya, Velazquez, Research of Spanish art, Russian art criticism, Russian culture, cultural paradigms, El Greco

DOI: 10.7256/2454-0625.2020.8.32542

Abstract: The subject of this research is the impact of structuralism as a scientific direction upon mass art. Stable invariant structures discovered by the structuralists in multiple artworks can be observed in mass art. Structuring, which initially was a method of research, turned into one of the practical recommendations on reating new works in mass art. The goal consists in the analysis of susceptibility factors of mass culture to the ideas of structuralism and results of using methodology of structuralism in mass artistic production. The initial methodological focus of this work lied in the concept of juxtaposition of craft and art, which goes back to I. Kant and is applied in modern aesthetics. The author leans on the methods of structuring and comparative structural analysis, as well as the elements of functional analysis. The main conclusion of consists in the statement that susceptibility of mass culture to the ideas of structuralism is substantiated by its economic goals, need to possess reliable and scientifically proven tools that would ensure commercial success of the artworks. However, the patterned application of structuring methods in mass art is capable of creating only craft products, rather than actual art.

Keywords: binary opposition, craft, mass art, mass culture, structure, structuralism, artistic creation, public, artistic production, invariant

DOI: 10.7256/2454-0625.2020.10.34181

Abstract: In this article, the author advances the idea of generalized corporeality in its functional manifestations in the acts of communication, activity, and theatrical art. The work is dedicated to the problem of “smart body”, in other words, conscious and manageable generalized corporeality is one of the core themes in development and self-improvement of acting skills and onstage genuineness. The key problem is the problem of harmony, unity between inner and outside, words and doings, thoughts and actions, realized by the actor just partially, so is by the stage director and audience. The author attempts to describe this problem by means of post-nonclassical philosophical methodology offered by V. S. Stepin, concepts of post-nonclassical practices, synergy of motion and state, which marks the synthesis of the ontologies of states of generalized corporeality and temporal ontologies, introduced in the previous article. The author also attracts the concept of unconscious reflection of V. Lefebvre, which describes a special type of reflection as a certain unconscious component of generalized corporeality that creates a specific interpretation of the skill and work with time in post-nonclassical context. Interpretation of the acquired acting skills that taught in many schools of classical and contemporary theatre, from K. Stanislavski and M. Chekhov to A. Artaud and E. Barba, are also viewed through the prism of reflection of synthetic ontologies of generalized corporeality. In conclusion, the author introduces theatrical interpretation of the twofold activity triad, which allows embracing the relationship between various observers, the actors of theatrical event: actor – stage director – audience.

Keywords: theatrical action, synergy, temporal ontologies, state ontologies, quantum psychology, generalized corporeality, reflection, anthropology, directing, acting

DOI: 10.7256/2454-0625.2020.12.34589

Abstract: The article is devoted to the role of research in the field of biology, behaviorism and cognitive science of plants in changing not only scientific, but also cultural discourses. A brief overview of the cultural plant heritage is given, mentioning the reasons for the objectification of plants with the adoption of a mechanistic picture of the world and the debunking of the mystery of nature. The author examines modern changes in the understanding of plant life on the basis of new research in the field of electrophysiology and plant behaviorism, while providing a small historical digression of how the attitude to plants in biology and semiotics developed and changed. In particular, the emergence of phytosemiotics as part of the semiotic system of humans and animals, and its transformation into phytosemiotics per se under the influence of new research results in the field of neurobiology of plants and their behavior was considered. The novelty of the research lies in the analysis of new data in the field of plant behavior and signaling from the standpoint of biosemiotics, rethinking the semiotic reality of plants: despite the fact that plants have a different way of life from animals, functionality and radically different morphology, they are nevertheless comparable, which allows plants to stand on the same level with animal organisms in semiotic reality, to gain agency. This opens up a wide field for further research not only in plant biology, behaviorism, but also the further development of phytosemiotics, ecosemiotics, ethics and aesthetics. A special contribution of the author is the rethinking of the plant semiotic niche: the transition of plants from the iconic semiosis to the index one.

Keywords: agency, index, phytosemiotics, plant neurobiology, plant behavior, Umwelt, biosemiotics, functional circle, icon, signaling of plants

DOI: 10.7256/2454-0625.2021.2.35142

Abstract: This article analyzes the three cultural starts of reasoning (ancient, modern, and current). This analysis is preceded by the history of studying reasoning in the Moscow Methodological Group, the representatives of which set the task of creating the theory of mendacity, but failed to complete. It turned out that reasoning cannot be reduced to activity not explained by semiotics. The concept of Aristotle's reasoning (the first start) is explored. He completes the tradition of norming the discursive types of activity (reasoning, proof, cognition) that comes from Parmenides and Socrates, attributes the ability to reason to an individual, and along with Plato generates a new reality in mentality. The second start of reasoning is attributed to the Modern Age, which outlined the task getting hold of nature and formed a New European creative personality. In this case, reasoning is endowed with the characteristics of constructiveness, projectivity, eventfulness, perceived as a method of creating new nature and thingness by a person, and included into the context of formation of the culture of modernity. The third start, as the emergence of a new type of reasoning, is currently developing. It is substantiated by the crisis of the culture of modernity, which caused the emergence of new types of discursive practices (interdisciplinary research, collective forms of mental activity using the Internet, development of methodology). These new types of practices require further research and norming, so are the new functions and peculiarities of reasoning.

Keywords: objects, concept, schemes, signs, cognition, evidence, reasoning, activity, thinking, culture

DOI: 10.7256/2454-0625.2020.12.34760

Abstract: The article analyzes the peculiarities of problematization of transdisciplinary experience in solving interdisciplinary and existential issues of everyday life with the involvement of scientific and value-moral priorities of scientific research. Problematization is considered comprehensively, at the level of thematization of presuppositions of transdisciplinary experience, the formation of explanatory hypotheses (by the type of abduction), taking into account not only direct but indirect evidence, using the heuristics of the thesaurus corresponding to the topic. The formation of the thesaurus is based on a cultural transfer between interdisciplinary discourses with an appeal for mutual understanding to the language of everyday communication in the mode of actual dialogue. Cultural transfer is focused on the translation and understanding of the problems discussed, the removal of speech inconsistencies, contradictions.Problematization, as a mode of conducting transdisciplinary experience, due to its complexly organized nature, does not imply unambiguous solutions once and for all. The latter circumstance plays a positive role, taking into account the chosen methodology for the real presentation of the subject of research. This experience has the ability to challenge the proposed solutions, requiring completeness, evidence, expressiveness and openness, promotes updating depending on the place and time (chronotope) of the research being conducted. Transdisciplinary experience, accumulating skills, always rechecks its methodological approaches: thematization of prerequisites and the creation of an appropriate dictionary, the formation of ways to translate interdisciplinary languages to search for explanatory hypotheses, taking into account not only direct but also indirect evidence.

Keywords: existential experience, the paradigm of indirect evidence, evidence paradigm, theming, thesaurus, cultural transfer, problematization, interdisciplinarity, transdisciplinarity experience, chronotope

DOI: 10.7256/2454-0625.2013.2.62486

Abstract: Viewing art as a science, Mikhail Lomonosov included his art theory of light and color in the sphere of academic inquiries. As a researcher and a naturalist, he assumed that the more mysteries of Nature our mind can understand, ‘the happier we feel at heart...’. Based on the laws of optics, Mikhail Lomonosov created his trichromatic theory of vision that precedes Hemlhotz’s findings. He used achievements in optics for creating colored glass in the process of mosaic making. In addition to scientific findings, Lomonosov also viewed the theory of color vision as a way to get closer to the deepest mysteries of the Heavens and art in genera as the mean of expressing the knowledge that praises God through images.

Keywords: art history, Mikhail Lomonosov, natural philosophy, Isaac Newton, Hermann von Helmholtz, color, paint, mosaic, trichomatic vision.

DOI: 10.7256/2454-0625.2020.12.34793

Abstract: The paper continues the topic of applications of the methodology of generalized physicality, which goes back to the concept of quantum synergetic anthropology, elaborated in detail in the previous parts of the triptych. Ontologies of states (functional bodies and subteles of generalized corporeality) and temporal ontologies are considered on the material of the theatrical play of actors. An isomorphism of a well-known musical notation and representation of a changing anthropological profile in the form of a chord of simultaneously activated "sounding" states of the actor is constructed. The relevance of such a musical metaphor, an analogy of the freedom of acting improvisation, as an anthropological jazz inherent in any performer, albeit to varying degrees, is discussed. The classical manner has less variability than, in fact, jazz improvisation. В Parallels of such performances are drawn with the works of classics of theater directing, philosophy of play and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, I. E. Berendt.In fact, a certain language of interpretation of acting is proposed with the help of dynamic schemes for describing what is happening during the game. If these schemes are adequate to the stage reality, which we tried to prove, then they may well be used in the preparation of actors, staging performances, etc. In fact, a new psychotechnics is being created that allows changing the available capabilities of acting technique, replenishing its tools. In addition, this kind of notational representation of actors' parts allows you to archive and decipher the director's idea in a fairly universal way.

Keywords: ontologies of states, directing, improvisation, notation, psychosemantics, anthropological jazz, quantum synergetic anthropology, acting, generalized physicality, temporal ontologies

DOI: 10.7256/2454-0625.2013.3.62825

Abstract: by the example of “The Mirror” by A. Tarkovskiy, the article explores the mirror phenomenon. According to W. Bion, cinema has the property of an “odd object” to affect us in a way similar to a two-mirror system within the model of individual and collective unconscious. This occurs through the “intimization” mechanism (according to B. Shifrin) via an “I-I” (or self to self) model of communication.

Keywords: culturology, cinema, mirror, unconscious, strange, Tarkovskiy, intimization, Y. Lotman, time.

DOI: 10.7256/2454-0625.2014.6.13239

DOI: 10.7256/2454-0625.2014.6.65701

Abstract: The article is devoted to the semiotic interpretation of the theoretic heritage of a film director Sergey Eizenshtein by Vyacheslav Ivanov whose jubilee was celebrated this year. Sergey Eizenshtein foresaw the structural methodology that became so popular after the 60s. Vyacheslav Inavov has a wide range of academic interests. The present article is devoted only to his interest towards cinematograph, in particular, the theoretic heritage of a film director Sergey Eizenshtein. Vyacheslav Ivanov is interested in Eizenshtein because Vyacheslav Ivanov believes that Eizenshtein tended to see cinema as a language or, more specifically, a sign system. Vyacheslav Ivanov couldn’t have left it without attention because the formation of semiotic methodology is closely related to Eizenshtein in Russia. So it is quite natural that Vyacheslav Ivanov wanted to interpret the pre-history of semiotics, too. In cinematograph such pre-history is directly related to Sergey Eizenshtein. Trying to clarity the significance of Vyacheslav Ivanov’s research of Sergey Eizenshtein’s esthetics, the author of the present article also touches upon applying semiotic methodology to cinematograph as a sign system in general. For this purpose, the author describes the atmosphere of those times when Russian theorists of cinematograph were interested in semiotics. However, interest towards structuralism and semiotics started to fade away decades later when new approaches related to pot-structuralism and post-modernism were introduced by the humanities. Some theorists started to speak against semiotic approaches and suggested to apply philosophical and, in particular, phenomenological approach to studying cinematographic art. These approaches are appropriate and efficient, however, they do not replace the semiotic approach. The author of the article shows that such attempts to refuse from the semiotic approach to cinematograph were too early and superficial. Vyacheslav Ivanov’s works on cinematograph are a great source that proves the efficiency of the philosophical approach. In particular, Vyacheslav Ivanov’s book ‘Eizenshtein’s Esthetics’ is devoted to this topic. Interpreting the meaning of the title, the author of the present article shows that the concept of semiotics was already created at the initial stage of the development of esthetics as a branch of philosophy.

Keywords: Semiotics, linguistics, structuralism, phenomenology, esthetics, language, cinema, sign system, formal school, culture of grammar, culture of text.

DOI: 10.7256/2454-0625.2016.6.17002

Abstract: The subject of the research is the external and internal boundaries of science which define metamorphosis of non-scientific forms of knowledge at the boundaries of science. The object of the research is the relationship between science and non-scientific forms of knowledge from the point of view of their diachronic and synchronic dimensions. Special attention is paid to the boundaries outside which science cannot and should not be spread. It is due to the scientist's responsibility rather than the limits of the mind competence. Taking this into account, the problem of the boundaries of scientific or any other knowledge is related to the culture of rationality and thus acquires additional importance under new circumstances. The author of the article proves that destructive features of the industrial civilization where science plays the role of the innovative social code constitute grounds for the epistemological program of defining the boundaries of mind competence as it was introduced by Immanuel Kant. The main research method used by the author is the classical method of dialectics. This method allows to view the matter from the points of view of ontology, gnoseology, culture and history. When it was necessary, the author has also applied the phenomenological, hermeneutical and systems concept, thesaurus and contextual approaches to understanding and interpreting cultural phenomena. According to the author, philosophical interpretation of the boundaries of science or any 'other' knowledge is also important to understand the fact that there is no 'pure' science or 'pure' rationalism: the world of science involves a variety of other forms of knowledge (myth, theological concepts, intuition, mystical or esoteric experience); and all forms of knowledge are rational to a certain extent. In all cases metamoprhosis, interconversion and compatibility of all forms of knowledge at the boundaries of science and non-science can be observed. The article is devoted to philosophical problematic of the frontiers of scientific and other knowledge in the phenomenology of contemporary culture. Its leading sense acts to set the frontiers of science and other knowledge on the basis of ethical rationality and Biosphere ethics with a view to promoting the humanistic orientation of modern mankind in order to preserve the status quo and the intrinsic value of life itself.

Keywords: metamorphosis, boundaries of knowledge, 'other knowledge', global humanity issues, Biosphere ethics, ethic rationality, status quo, culture, science, knowledge

DOI: 10.7256/2454-0625.2016.6.68500