Issue 53 (2024, 1) Summary

ARTICULT #53 (1-2024) January-­March

SUMMARY

THEORY OF ART

FASHION, ART AND ARTS PRACTICE: A HISTORIOGRAPHY OF THEIR RELATIONSHIP
Research article
UDC 7.01
DOI: 10.28995/2227-6165-2024-1-5-12
Received: December 18, 2023. Approved after reviewing: March 10, 2024. Date of publication: March 30, 2024.
Author: Shapiro Bella Lvovna, Dr. of Culturology, PhD in History, professor, Chair of the Cinema and Contemporary Art Studies, Russian State University for the Humanities (Moscow, Russia), e-mail: b.shapiro@mail.ru
ORCID ID: 0000-0001-5616-8898
Summary: The central theme of this research is a reflection on the evolution of philosophical ideas about the relationship between fashion and art, fr om its origins in the Age of Enlightenment to the present. The order of appearance of the first theories of fashion, linking fashion and art, their orientation traced. We investigated the evolution of these theories and the conditioning of the evolution by various social causes and intellectual trends. And we also followed up the transformation of fashion theories as an art form under the influence of contemporary artistic practices. The conclusion of the research: the relationship between art and fashion in the modern world is becoming stronger and stronger. The circle of issues that connect art and fashion in the modern world is quite wide, and it is constantly changing. One of the reasons for these changes is the alteration of the essential boundaries of contemporary art.
Keywords: fashion, fashion theory, fashion philosophy, art theory, art studies

For citation:
Shapiro B.L. “Fashion, art and arts practice: a historiography of their relationship.” Articult. 2024, no. 1(53), pp. 5-12. (In Russ.) DOI: 10.28995/2227-6165-2024-1-5-12

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HISTORY OF ART

IMAGES OF THE ORIENT IN SOVIET PORCELAIN OF THE 1920S – 1940S: POLITICS AND AESTHETICS
Research article
UDC 738.1
DOI: 10.28995/2227-6165-2024-1-13-27
Received: January 26, 2024. Approved after reviewing: February 29, 2024. Date of publication: March 30, 2024.
Author: Shik Ida Aleksandrovna, PhD in Art Studies, assistant professor, Chair of the Theory and History of Art, Russian State University for the Humanities (Moscow, Russia), e-mail: ida.shik@bk.ru
ORCID ID: 0000-0002-7953-6283
Summary: In the article, the researcher revealed the specificity of images of the Orient interpretation in the Soviet porcelain of the 1920s – 1940s within the framework of the political propaganda theme. Porcelain artists responded to significant contemporary events related to the Orient. In addition, they created works on common to Soviet art topics such as work and leisure, motherhood and childhood, the emancipation of women accenting national features. In aesthetic terms, the interpretation of the “Oriental theme” was transformed within the framework of the general line of the Soviet porcelain style evolution: from the “imaginary East” pictures in the spirit of Orientalism to more realistic compositions. The international art deco style consistently manifesting itself in the porcelain sculpture of the 1920s and 1930s had particular importance to the Orient theme treatment.
Keywords: Soviet porcelain, The State Lomonosov Porcelain Factory, images of the Orient, political propaganda, post-avant-garde, art deco

For citation:
Shik I.A. “Images of the Orient in Soviet Porcelain of the 1920s – 1940s: Politics and Aesthetics.” Articult. 2024, no. 1(53), pp. 13-27. (In Russ.) DOI: 10.28995/2227-6165-2024-1-13-27

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CONTEMPORARY ART

THE ABSTRACT MACHINE THE ART OF THE GLASGOW CIRCLE ARTISTS
Research article
UDC 7.036(4)+7.038.55
DOI: 10.28995/2227-6165-2024-1-28-36
Received: September 23, 2023. Approved after reviewing: November 07, 2023. Date of publication: March 30, 2024.
Author: Kuznetsova Irina Pavlovna, MA of Philosophy., artist, postgraduate student, Novosibirsk State University of Architecture, Design and Arts named after A.D. Kryachkov. (Novosibirsk, Russia), e-mail: kuznetsova.irka@gmail.com
ORCID ID: 0000-0002-9940-5029
Summary: This article attempts to analyze and interpret the art of the artists of the “Glasgow circle” of the early 21st century in order to determine its unique features and originality. The philosophy of Gilles Deleuze, as interpreted by such authors as Simon O'Sullivan, Stefan Zepke and Manuel Delanda, was chosen as a possible theoretical framework. The first part of the article is devoted to introducing basic concepts and defining the key stages of our research. The main part of the article presents a general analysis of the works of artists of the “Glasgow circle”, identifies the main type of segmentation of matter in their works, and also examines the space they create. In the final part of the article we explore a number of territorial motifs in the work of specific artists from the Glasgow circle, such as Martin Boyce, Clare Barclay and Carla Black. This analysis allows us to see exactly how the abstract art machine of these artists works and how the effect of “mysterious sadness” and melancholy that their installations produce on the viewer is created. As a conclusion, we define the abstract machine of the art of these artists as a “internal landscape.”
Keywords: Scottish art, Glasgow Circle, contemporary art, post-conceptual art, installation, ready-made, Gilles Deleuze, Felix Guattari, abstract machine, poststructuralism

For citation:
Kuznetsova I.P. “The Abstract Machine of The Art of the Glasgow Circle Artists.” Articult. 2024, no. 1(53), pp. 28-36. (In Russ.) DOI: 10.28995/2227-6165-2024-1-28-36

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SUSTAINABLE ART PRACTICES IN RUSSIAN PROTECTED AREAS
Research article
UDC 712.01+712.23 DOI: 10.28995/2227-6165-2024-1-37-47
Received: September 15, 2023. Approved after reviewing: October 27, 2023. Date of publication: March 30, 2024.
Author: Malinovskaya Yana Vladimirovna, Master of Theory and History of Art, Master of Philosophy and History of Religion, postgraduate student, HSE University (Moscow, Russia), e-mail: yanamalin@gmail.com
ORCID ID: 0000-0002-0394-1581
Summary: The problem of defining “sustainable art” is closely related to the extensive discussion around the paradigm shift of economic growth to the concept of “sustainable development” and related problematic issues related to the relationship between man and the environment. The article explores how contemporary art can reflect the problems of “sustainability”. The article explores the term “sustainable art” through the ecological, social and cultural context of Russia. The author emphasizes the importance of art as a tool for reflection, critical commentary and an incentive to dialogue on sustainability issues. In the Russian context, the issues of “sustainable” development of the economy, ecology and society are also conceptualized by contemporary art, but at the moment this practice are not described as “sustainable art”. The specifics of Russian protected areas allow us to consider them as possible model sites for the development of sustainable art in Russia. The author examines artistic practices in Russian protected areas in 2011-2021 in the optics of “sustainability”.
Keywords: “sustainable art”, protected areas, “sustainable development”, artistic practices, Russia

For citation:
Malinovskaya Ya.V. “Sustainable Art Practices in Russian Protected Areas.” Articult. 2024, no. 1(53), pp. 37-47. (in Russ.) DOI: 10.28995/2227-6165-2024-1-37-47

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VISUAL ARTS

BETWEEN AN INDEX AND AN ICON: PHOTOGRAPHY IN THE CONTEXT OF NEURAL NETWORKS
Research article
UDC 7.038.53:77+77.0
DOI: 10.28995/2227-6165-2024-1-48-63
Received: February 02, 2024. Approved after reviewing: March 05, 2024. Date of publication: March 30, 2024.
Author-1: Fadeeva Tatiana Evgenievna, PhD in Art Studies, associate professor, HSE University (Moscow, Russia), e-mail: tfadeeva@hse.ru
ORCID ID: 0000-0002-6754-4235
Author-2: Persheeva Alexandra Dmitrievna, PhD in Art Studies, associate professor, HSE University (Moscow, Russia), e-mail: apersheeva@hse.ru
ORCID ID: 0000-0002-2969-2720
Author-3: Pronina Anastasiia Urievna, postgraduate student, HSE University (Moscow, Russia), e-mail: apronina@hse.ru
ORCID ID: 0000-0002-3480-6155
Summary: The rapid development of technoscience calls into question the usual ways of perception and traditional practices of information analysis, in particular, one of the challenges for the communication society has been the development of artificial intelligence capable of creating images that are almost indistinguishable from paintings and photographs, this is clearly visible in the discussions that are developing today around photography and push us to think about the semiotic shift taking place in this field. The article observes three ways for a photographer to work with neural networks, each of which has its own limits of applicability: image processing, image creation based on the style of a famous photographer, image generation "from scratch". The key examples of neural networks at the disposal of photographers and artists are analyzed, their features and expressive capabilities are indicated, as well as those aesthetic and semiological issues that are issues that are actualized by the introduction of artificial intelligence into photographic practice. Based on the results of the study, the authors come to the conclusion that the semiotic shifts occurring in the field of photography challenge traditional forms of representation and have a fundamental impact on how the categories of authorship and viewership can be understood in the modern sociocultural process.
Keywords: сontemporary photography, contemporary art, machine learning, artificial intelligence, neural networks, neurophotography, generative photography

For citation:
Fadeeva T.E., Persheeva A.D., Pronina A.U. “Between an index and an icon: photography in the context of neural networks.” Articult. 2024, no. 1(53), pp. 48-63. (in Russ.) DOI: 10.28995/2227-6165-2024-1-48-63

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THE IMAGE OF BABA-YAGA IN WESTERN VIDEO GAMES: FROM AN OLD WITCH TO A MAD SCIENTIST
Research article
UDC 7.038.53:791.43
DOI: 10.28995/2227-6165-2024-1-64-80
Received: August 26, 2023. Approved after reviewing: September 29, 2023. Date of publication: March 30, 2024.
Author: Bykhanova Maria Anatolyevna, postgraduate student, HSE University (Moscow, Russia), e-mail: etnoginezvorobei@gmail.com
ORCID ID: 0000-0002-9519-923X
Summary: Baba Yaga is a character of Slavic folklore, but widely known to Western audiences. Her similarity to the image of the “evil witch” allowed her to gain a foothold in popular culture as an antagonist and become a character in comics, TV series or even board games. From wh ere she moved into video games, and her image is not just a conditional opponent, but a full-fledged NPC (non-player character), with a well-developed quest branch. The article discusses the gradual transformation of the appearance of the character, its function in the plot of the game. As in folklore tales, the image of Baba Yaga is quite ambiguous, and she can play the role of both an antagonist and a guardian or assistant in the plot of the game. Therefore, in the analysis, it is necessary to take into account not only the appearance of the character, but also her role in the overall plot. The influence of the image of the “evil witch” existing in Western culture on her is touched upon and how its reinterpretation made the game Baba Yaga closer to its folklore prototype.
Keywords: Baba Yaga, fairy-tale character, Slavic folklore, mediatization, video games, fairy tales, polar culture

For citation:
Bykhanova M.A. “The image of Baba-Yaga in western video games: from an old witch to a mad scientist.” Articult. 2024, no. 1(53), pp. 64-80. (in Russ.) DOI: 10.28995/2227-6165-2024-1-64-80

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CINEMA

PHENOMENOLOGY OF HORROR IN POST-HORROR: THE POETICS AND SYMBOLICS OF “THE LIGHTHOUSE” BY R. EGGERS
Research article
UDC 159.942.5+791.43-2
DOI: 10.28995/2227-6165-2024-1-81-90
Received: November 13, 2023. Approved after reviewing: December 04, 2023. Date of publication: March 30, 2024.
Author: Labuznaya Valeriya Yurievna, postgraduate student, Department of Screen Arts, Academy of Media Industry (Moscow, Russia), e-mail: labuznaiavaleria@gmail.com
ORCID ID: 0000-0003-3603-1389
Summary: The article is devoted to the problem of representing horror in one of the most significant post-horror movies – “The Lighthouse” by R. Eggers. The categories of phenomenology of horror by philosophers D. Trigg and E. Thacker are used in the analysis of the film’s poetics and symbolism. This method helps to highlight the themes of disgusting physicality, terrible doubleness and unthinkable horror in terrifying screen images and frightening means of expression. The resume explains the aestheticization of the horror in “The Lighthouse” as produced through the representation of “the subject becoming inhuman” and “the lacuna pointing beyond appearances.” Post-horror, viewed through the prism of contemporary speculative philosophy, appears as an attempt to transfer the “numinous” experience of horror using new screen means.
Keywords: screen arts, speculative philosophy, phenomenology of horror, poetics, aesthetics, symbolism, horror, uncanny, disgust, corporeality, duality, doppelgänger, physicality, posthorror

For citation:
Labuznaya V.Yu. “Phenomenology of horror in post-horror: The poetics and symbolics of “The Lighthouse” by R. Eggers.” Articult. 2024, no. 1(53), pp. 81-90. (in Russ.) DOI: 10.28995/2227-6165-2024-1-81-90

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HISTORY AND THEORY OF CULTURE

URBAN PARK CULTURE: DISPOSITIVE AND ACTOR-NETWORK ANALYSES OF THE INTERNATIONALIST PARK IN SAINT PETERSBURG
Research article
UDC 712+316.7
DOI: 10.28995/2227-6165-2024-1-91-111
Received: August 17, 2023. Approved after reviewing: February 07, 2023. Date of publication: March 30, 2024.
Author: Sosnovskaya Anna Mikhailovna, Doctor of Political Sciences, Associate Professor, Department of Journalism and Media Communication, Russian Academy of National Economy and Public Administration (Saint-Petersburg, Russia), e-mail: sosnovskaya-am@ranepa.ru
ORCID ID: 0000-0002-9736-0912
Summary: The article is the first to comprehensively analyze the social, discursive, ideological, and compositional features of an urban park in a dormitory district of St. Petersburg, taking into account the actor-network theory. Chronological transformations of the Internationalist Park show the dynamics of culture and history of the neighborhood, and implicit values of different actors, including non-humans, reveal networks, practices and narratives that, when coexisting, cause conflicts and tensions due to unfinished needs of the actors. This article analyzes the elements of the park ensemble in the optics of actor-network theory as non-human actors with their own affordances. The Park is seen as an actor in a network of cultural reproduction and identity construction. The Park with its agency performs mainly the function of recreation in an ecologically authentic place and a scene of sporadic events, forming metaphors of a village garden and a mobile stage for unplanned encounters. The network topology of the park is composed of heterogeneous elements that form a dispositive ensemble. Things and ideas are considered as acting actors forming networks of relations. All objects of the network space (network nodes) can be reconstructed from media discourse and systematized without remainder in a conceptual model of actor interaction. Improvements to meet needs are proposed based on the ecological model of the park, identifying points of tension in the park as a structured network of actors.
Keywords: park design, natural and historical heritage, actor-network theory, discourse, dispositives, biodiversity, public space

For citation:
Sosnovskaya A.M. “Culture of an urban park: a dispositive and actor-network analysis of the Internationalist Park of Saint Petersburg.” Articult. 2024, no. 1(53), pp. 91-111. (in Russ.) DOI: 10.28995/2227-6165-2024-1-91-111

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