Традиции японской чайной церемонии в современном искусстве: к проблеме интерпретации
The aspect of self-correlation with Tradition in art plays an important part while discussing national and cultural identity. However, a piece of art, created in a dialogue with tradition, raises challenging questions to the viewer about the means of interpretation and evaluation of such art-work. Taking as an example the tea pavilion designed by Japanese artist H. Sugimoto, the author muses on the ways and extent of tradition’s impact on proper perception of the artist’s concepts.
Contemporary art biennials are sites of prestige, innovation and experimentation, where the category of art is meant to be in perpetual motion, rearranged and redefined, opening itself to the world and its contradictions. They are sites of a seemingly peaceful cohabitation between the elitist and the popular, where the likes of Jeff Koons encounter the likes of Guy Debord, where Angela Davis and Frantz Fanon share the same ground with neoliberal cultural policy makers and creative entrepreneurs. Building on the legacy of events that conjoin art, critical theory and counterculture, from Nova Convention to documenta X, the new biennial blends the modalities of protest with a neoliberal politics of creativity.
This book examines a strained period for these high art institutions, a period when their politics are brought into question and often boycotted in the context of austerity, crisis and the rise of Occupy cultures. Using the 3rd Athens Biennale and the 7th Berlin Biennale as its main case studies, it looks at how the in-built tensions between the domains of art and politics take shape when spectacular displays attempt to operate as immediate activist sites. Drawing on ethnographic research and contemporary cultural theory, this book argues that biennials both denunciate the aesthetic as bourgeois category and simultaneously replicate and diffuse an exclusive sociability across social landscapes.
The boor develops a new approach to the study of social reality in its denamics based on the revealing of connections between social and anthropological phenomena. The fundament of the approach is synergic anthropology, in the frame work of which the apparatus for the description and analysis or the "colonization" of the interface of the Social and the Anthropological is constructed. A new class of concepts is introduced, the categories of the interface, the examples of which are anthropological situation, anthropological trend, spiritual tradition etc. Anthropological trends serve as the main tool are developed, the diagnostics (the identification of anthropological formation(s), which generate trend in question) and the control (the stimulation of a trend, the blocking of it etc.). The framework is then applied to analysis of the most topical modern problems such as global risks, ecological crisis, the grwth of the virtualization of reality, the problem of the Post-human etc. Special attention is paid to the "Exit trend", which is how we call the overall anthropological trend collecting all manifestations and tendencies of the specific tiredness of the Human and his/her drive to a self-withdrawal. Using our methods of the control of trends, it is possible to formulate strategies for changing and correcting anthroposocial situation. We find that two phenomena play important role in these strategies, the transition of modernity into the postsecular paradigm, and the return of the Onthological Human, the fnthropological formation constituted in religious expirience and forced out by the po\rocesses of secularization. In the conceptual context of modern social philosophy the approach uniting social and anthropological reality in a new light, and provides new principles for determining our attitudes and strategies towards leading trends of modernity.
The book describes the concepts of culture and language in the work of the austrian writer Franz Kafka.
The article focuses on the limits of using oral history methods in the research of academic communities. The authors analyze the language and ways of self-description used by modern Russian academic community. The study is based on the interviews of Post-Soviet university professors, which helps to clarify what is the concept of tradition for them, what is the origin of their individual memories, and how these memories correspond to the collective perceptions of the ideal university.
This article focuses on the “domestication” of hard disk drives’ technologies and the development of the data recovery market in Post-Soviet Russia. Drawing on 3.5 years ethnographic research with one data recovery service center in Moscow and on 12 in-depth narrative semi-structured interviews with technicians in Moscow, Saint-Petersburg, Rostov-on-Don and Minsk, I argue that lead users were centre players in these developments. I narrow and specify E. von Hippel’s definition of lead users, stressing as main characteristics their abilities to invent and to materialize their inventions to create new marketplaces through commercialization of their technological innovations (or, in other words, the ability to complete an innovation cycle by themselves). The questions I pose in this article are: 1. Who were those lead users who invented data recovery as a new service in Russia? 2. In which directions did they transfer their innovations? 3. Which ways and means did they use? To address these questions, the article proceeds through five sections and examines the social basis of data recovery and the history of this field; the practices of transferring innovation vertically (to producers; “invention”), horizontally (to other lead users; “objectification”) and downwards (to domestic users; “commercialization”); the dynamics of data recovery as a “cultural recipe”. To analyze data, I have adopted some grounded theory techniques, thus the result of my undertaking is a “theory” which explains data recovery market development as an evolution of users’ cultural recipes. The article concludes with an assumption that, in Russia, certain innovations in other commercial or industrial fields (for example, automobile electronics) could be initiated by lead users and organized along similar lines to data recovery.
The principle of communality is denoted in the paper as ability of originally and essentially communal socio-political norms and relations, worldview and consciousness, behavioral pattern, to spread on all the levels of societal complexity including, though in modified or sometimes even corrupted forms, sociologically supra- and non-communal. (The modern African city as a holistic phenomenon and in many concrete manifestations of its social life is a striking example of this). Thus, the nature and fundamental importance of the principle of communality follows from, but is by no means reduced to, the fact that the local community has always – from the earliest days of history to the present – remained the basic socio-economic institution and nucleus of political organization in Africa. The principle of communality is also irreducible to those of kinship (as in the most typical African community kin ties are compromised by those of other kinds) and collectivism (actually, one of the reasons for the “African socialism” projects’ failure was that their ideologists tended to ignore the dualistic nature of the community overemphasizing its collectivistic side and underestimating individualistic). As a pivotal socio-cultural foundation, the principle of communality has a direct impact on all subsystems of the African society at all the levels of its being throughout its whole history. Precisely this is what can explain to a large extent the originality of African civilization, as notwithstanding the immense changes, including those of the colonial and postcolonial eras, today the cultures of Africa still preserve their identity, what means that beyond the visible novelties, they are still based on the fundamentals characteristic of them since olden times. Hence, in the embodiment of the principle of communality it can make sense to seek the roots of specificity of the socio-political processes in postcolonial Africa, including the processes of nation- and state-building.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.