Issue 52 (2023, 4) Summary

ARTICULT #52 (4-2023) October-December

SUMMARY

THEORY OF ART

MODES OF PERCEPTION OF PROJECTIONAL IMAGES IN THEATRE: CASE OF TYPOLOGICAL ANALYSIS
Research article
UDC 7.01+792.01
DOI: 10.28995/2227-6165-2023-4-5-21
Received: September 22, 2023. Approved after reviewing: October 16, 2023. Date of publication: December 23, 2023.
Author: Baulina Polina Vitalevna, MA in Cultural Studies, PhD student, National Research University Higher School of Economics, e-mail: pvbaulina@gmail.com
ORCID ID: 0000-0002-5232-8951
Summary: The research presents a new insight regarding the ways of studying projectional images in theatre. The research elucidates some effects of using projectional surfaces and devices in performances and enriches a set of procedures to fix the perceptional modes according to projections in stage space. The theoretical and methodological framework employed in the research includes a range of ideas at the intersection of theatre studies, semiotics and visual studies. This combination is intended to give an understanding of the projectional image as a unit of stage practices that is non-translatable due to its specific mediality. Research optics employed in the paper is aimed at depicting the communicative value of projectional image as an expressive mean through the description of its role in the structure of a performative text (performance). The study arrives at a typological grid that is suggested to be a productive analytical tool. The analytical grid covers different modes of the presence of projectional image and its role in the structure of a performative text (performance). The present research deals with the version of a typological grid and focuses on the critical understanding of typology as a methodological procedure.
Keywords: projectional images, projectional technologies in theatre, screen, medalized performances, media tools in theatre, presence, research methods of projectional images, typology as method

For citation:
Baulina P.V. “Modes of Perception of Projectional Images in Theatre: Case of Typological Analysis.” Articult. 2023, no. 4(52), pp. 5-21. (in Russ.) DOI: 10.28995/2227-6165-2023-4-5-21

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CONTEMPORARY ART

THE BOUNDARIES OF NON-HUMAN COMMUNICATION IN CONTEMPORARY ART PRACTICES
Research article
UDC 130.2+316.77+7.01
DOI: 10.28995/2227-6165-2023-4-22-32
Received: September 27, 2023. Approved after reviewing: October 16, 2023. Date of publication: December 23, 2023.
Author: Denikin Anton Anatolyevich, PhD culturology, associate professor, Dr. Habil, GITR Film&Television school (Moscow, Russia), associate professor, Head of the Department of Sound Engineering, Russian Institute of Theatre Arts (Moscow, Russia), e-mail: oficial@list.ru
ORCID ID: 0000-0001-8101-7952
Summary: The article analyzes the practices of non-human communication, defined as an attempt by philosophers and artists to present the world not through human eyes and to talk about ways of communication beyond the limits of human relations and human understanding. Using the example of a number of contemporary art projects, the strategies of deanthropization of an art object and exclusion of its external evaluation by the subject-viewer are analyzed. Despite the ingenuity in the artists' desire to take the “independent” viewer out of the brackets of artistic communication, the call for the actualization of non-human interactions in art practices remains part of the discourse on communications, which means that, although specific, it is still a variant of human communication. Although artists who are fond of object-oriented ontology and other non-human philosophies strive to present any objects outside of direct connection with a person, most of their implicit project (which is especially noticeable in art practices) consists in rethinking human activity, which means that non-human communication remains sufficiently human.
Keywords: object-oriented ontology, speculative realism, communication, minimalism, installation, interaction of objects

For citation:
Denikin A.A. “The boundaries of non-human communication in contemporary art practices.” Articult. 2023, no. 4(52), pp. 22-32. (in Russ.) DOI: 10.28995/2227-6165-2023-4-22-32

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VISUAL ARTS

ARTISTIC VISUALIZATION OF DIGITAL MEMORY IN CONTEMPORARY MEDIA ART
Research article
UDC 7.01+7.038.53
DOI: 10.28995/2227-6165-2023-4-33-46
Received: September 18, 2023. Approved after reviewing: November 22, 2023. Date of publication: December 23, 2023.
Author-1: Zakharchenko Irina Nikolaevna, PhD in History, Associate Professor, Russian State University for the Humanities (Moscow, Russia), e-mail: inzakh@gmail.com
ORCID ID: 0000-0003-4859-2589
Author-2: Shchedrina Olga Mikhailovna, MA of Cultural Studies, PhD student, Russian State University for the Humanities (Moscow, Russia), e-mail: helga.shchedrina@gmail.com
ORCID ID: 0000-0001-7587-0682
Summary: The engagement of researchers and artists with the issue of memory in the digital culture is linked to the recognition of a qualitatively new role of technology in shaping the structures of contemporary human consciousness. The total digitalization of socio-cultural space not only alters the configuration of memory structures but also creates a situation where the cultural space itself becomes entirely dependent on them. In addition to academic research on digital memory (Digital Memory Studies, DMS), media artists are exploring its interpretation by creating artistic models of digital memory. The aim of the article is to present artistic experiences of visual modeling of digital memory in modern media art as a response to multi-level transformations in memory structures, using the work of well-known representatives of contemporary technological artistic practices such as Woody Vasulka, Rafael Lozano-Hemmer, and Refik Anadol as examples.
Keywords: Digital Memory Studies, Digital Memory, Connective Memory, Andrew Hoskins, Woody Vasulka, Rafael Lozano-Hemmer, Refik Anadol

For citation:
Zakharchenko I.N., Shchedrina O.M. “Artistic Visualization of Digital Memory in Contemporary Media Art.” Articult. 2023, no. 4(52), pp. 33-46. (in Russ.) DOI: 10.28995/2227-6165-2023-4-33-46

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ANONYMITY AND SUBJECTIVITY IN THE VISUAL WORKS OF DIE TӦDLICHE DORIS AND THE RESIDENTS
Research article
UDC 316.77+ 7.01
DOI: 10.28995/2227-6165-2023-4-47-59
Received: September 24, 2023. Approved after reviewing: November 15, 2023. Date of publication: December 23, 2023.
Author: Sych Olga Nikolaevna, Master of Art Studies, PhD Student, National Research University Higher School of Economics (Moscow, Russia), e-mail: osych@hse.ru
ORCID ID: 0000-0002-5470-8077
Summary: The article analyzes applying of the categories of anonymity and subjectivity by the bands Die Tӧdliche Doris and The Residents, that dictate the images and semantics of their visual and audiovisual works. The specificity of the chosen subject stems from the unique borderline and not completely defined position of the bands perceived as art projects within rock culture. The issue of creative individuality in new art forms, as well as its manifestation and destruction, which still remains relevant, is refracted in the works and image-making strategies of Die Tӧdliche Doris and The Residents, giving rise to new forms at the intersection of contemporary art and popular genres of culture. Incorporating the methods of modern and avant-garde art into their creative concepts, the bands under consideration express their critical position regarding mass culture and its images in such forms as ready-mades, album covers, video works, actions and staging. Through the tactics of anonymization, self-deprecation and mystification, the bands build two types of the relationship between the individual and mass culture.
Keywords: Die Tӧdliche Doris, The Residents, post-punk, anonymity, subjectivity, Geniale Dilletanten, popular culture, ready-made, appropriation

For citation:
Sych O.N. “Anonymity and Subjectivity in the Visual Works of Die Tӧdliche Doris and The Residents.” Articult. 2023, no. 4(52), pp. 47-59. (in Russ.) DOI: 10.28995/2227-6165-2023-4-47-59

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CINEMA

VIETNAM SYNDROME AND AMERICAN CINEMA OF 1970-s
Research article
UDC 791.43-2+791.43.04
DOI: 10.28995/2227-6165-2023-4-60-71
Received: August 23, 2023. Approved after reviewing: October 24, 2023. Date of publication: December 23, 2023.
Author: Artyukh Anzhelika Alexandrovna, Doctor of Arts, professor, State Institute of Cinema and Television (Saint-Petersburg, Russia), e-mail: angelartyukh@gmail.com
ORCID ID: 0000-0003-1055-0711
Summary: This article examines American films of the 1970s that explore the theme of the Vietnam War. The  1970s were a turning point, not only in terms of understanding the Vietnam syndrome, but also creating new models of war cinema that heavily influenced directors of the subsequent decades. Directors who explored the Vietnam War included not only well-known filmmakers from Hollywood, but also directors of small-budget, independent films, which reflected no less deeply on the Vietnam syndrome, the traumatic experience of the war, and the new type of violence that it created. The films of the subsequent decades built upon many discoveries of this period, helping future generations of moviegoers to not only comprehend the Vietnam war experience, but also to transcend a state of despair and defeatism in the face of war. The interdisciplinary method of this article will analyze these films about the Vietnam War through a historical, political and film studies lens, as well as engage aspects of gender and psychology to understand the cultural dynamics of the period, discourses of masculinity, dictatorship, submission, and the archetype of apocalypse.
Keywords: Vietnam War, apocalypse, violence, trauma, Vietnam syndrome

For citation:
Artyukh A.A. “Vietnam syndrome and American Cinema of 1970-s.” Articult. 2023, no. 4(52), pp. 60-71. (in Russ.) DOI: 10.28995/2227-6165-2023-4-60-71

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FEATURES OF CINEMATOGRAPHY IN RUSSIAN REGIONS: CONSTRUCTION OF SOCIAL MEANINGS
Research article
UDC 791.43.04+791.43.05
DOI: 10.28995/2227-6165-2023-4-72-86
Received: September 08, 2023. Approved after reviewing: November 22, 2023. Date of publication: December 23, 2023.
Author-1: Levchenko Natalia Valeryevna, Ph.D. in Sociology, Researcher, Institute of Sociology of FCTAS RAS (Moscow, Russia), e-mail: natalya_levchenk@mail.ru
ORCID ID: 0000-0002-9052-7900
Author-2: Rogovaya Anastasia Vladimirovna, Ph.D. in Sociology, Senior Researcher, Institute of Sociology of FCTAS RAS (Moscow, Russia), e-mail: av_rogovaya@mail.ru
ORCID ID: 0000-0002-7982-3696
Summary: The article analyzes the phenomenon of regional cinema in Russia. It analyzes the main theoretical and methodological approaches in the study of film art, as well as interpretations of the concepts of “images”, “meanings” and “constructs” contained in contemporary regional films. It is noted that the positioning of the region in the sociocultural space is conditioned by the emergence of such a form of representation as cinema. It is shown that regional cinema represents a variety of local value constructs that are capable of self-reflection and active transformation of social reality. Symbolic constructs displayed in films can be perceived as unifying (images of historical events and figures, hard provincial life in the regions) and distinctive (customs, myths, rituals, church). The analysis of film content showed that modern regional cinema combines cultural and ethnic diversity, i.e. preservation of ethnic traditions and customs, Soviet values such as mutual aid and responsibility, and local specifics – the role of family, relationships and love for the small homeland.
Keywords: cinema art, construct, phenomenon of regional cinema, identity, ethnicity

For citation:
Levchenko N.V., Rogovaya A.V. “Features of cinematography in Russian regions: construction of social meanings.” Articult. 2023, no. 4(52), pp. 72-86. (in Russ.) DOI: 10.28995/2227-6165-2023-4-72-86

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PSYCHOLOGY OF CULTURE AND ART

TRIPTYCH OF LOVE IN ANNA KARENINA: INTERPRETING ANNA’S LOVE(S) PSYCHOANALYTICALLY
Research article
UDC 159.964.21+791.43-2+791.43.04
DOI: 10.28995/2227-6165-2023-4-87-94
Received: September 12, 2023. Approved after reviewing: November 15, 2023. Date of publication: December 23, 2023.
Author: Filatova Elizaveta Evgenievna, BA in Film and Media Studies, Master’s Student, University of Tyumen (Tyumen, Russia), e-mail: e.filatova.sas@gmail.com
ORCID ID: 0009-0005-6338-4392
Summary: This paper explores Anna Karenina’s multifaceted love(s) towards three men – her son, her husband, and her lover – using psychoanalytic perspective. While Joe Wright’s film adaptation (2012) serves as the primary object of analysis, the paper also draws upon the source text by Leo Tolstoy. The essay demonstrates ways in which psychoanalytic theory may be deployed to understand Anna’s motivations. Specifically, it suggests interpreting Anna’s love decisions in terms of what Freud called a love versus desire divide, originally attributed to men. As analysis shows, Anna seeks love and desire in two separate male figures, with Karenin being more like a father to her, and Vronsky – a sexual object or a “bad boy,” to use Bruce Fink’s term. Anna thinks in terms of “exchange” not of her husband’s but of her son’s love for that of Vronsky, thereby equating those seemingly different love(s). The paper looks closely at the specific scenes as well as stylistic techniques such as a whip pan, close-up, point-of-view shot, etc., which shed light onto Anna’s psychological conflict.
Keywords: Anna Karenina, Tolstoy, adaptation, psychoanalysis, Freud, love versus desire divide, anaclitic object-choice, narcissistic object-choice

For citation:
Filatova E.E. “Triptych of Love in Anna Karenina: Interpreting Anna’s Love(s) Psychoanalytically.” Articult. 2023, no. 4(52), pp. 87-94. DOI: 10.28995/2227-6165-2023-4-87-94

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METHODOLOGY

PATENT INFORMATION IN THE DEVELOPMENT OF MODERN ARTS
Research article
UDC 347.77.012.34+347.78+ 7.01
DOI: 10.28995/2227-6165-2023-4-95-106
Received: July 04, 2023. Approved after reviewing: December 04, 2023. Date of publication: December 23, 2023.
Author: Tokareva Anastasia Aleksandrovna, Deputy Head of Information and Bibliography Department of All-russian patent and technical library, Federal Institute of Industrial Property (Moscow, Russia), e-mail: Anastasiia.tokareva@rupto.ru
ORCID ID: 0000-0001-8186-0827
Summary: The article focuses on the integration of technical solutions into the sphere of art. The issue is that the art is attributed to the copyright, practically not using the full potential of industrial property and state protection of technical solutions. A patent is not only a legal document certifying priority and authorship, but the description to it is a full-fledged information resource that contains reliable information about the development. The article identifies the advantages and methodological grounds for using patent information in research activities, which can help reveal previously unknown features of the creativity of figures or art movements, for example, technologies for creating works of art in the field of sculpture, graphics and painting or Theremin prototypes. Based on the presented descriptions of inventions in music, painting, sculpture, for which protection documents were issued by the Russian Empire, the USSR and the Russian Federation, conclusions were drawn that patent information is a source of both cultural understanding of art and the creative process in creating new works of art.
Keywords: art, invention, intellectual property, music, painting, sculpture

For citation:
Tokareva А.А. “Patent information in the development of modern arts.” Articult. 2023, no. 4(52), pp. 95-106. (in Russ.) DOI: 10.28995/2227-6165-2023-4-95-106

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