Abstract: The work is devoted to the philosophical analysis of a number of culturological factors related primarily to visual genres and forms of culture, the subsequent impact of which on the rapid development of scientific and technological progress in the last decades of the XX – first decades of the XXI century directly or indirectly influenced the features of the functioning and appearance of the interface of screen devices in their now familiar form. The historically alternating cultural requirements for transformations of visual images in relation to their perception were investigated in diachrony. Through the analysis of visual culture, the authors consider modern technology as a unity of three components: technological, socio-cultural and anthropological. These components allow us to present the technique as an integral phenomenon for philosophical consideration. The research methodology is based on the use of empirical material from the field of modern technology development, and also includes an analysis of historical, philosophical and cultural sources related to the study of technology. When comparing the mimetic forms of traditional culture with the mimetic ways of reflecting the screen-type interface, a comparative typological approach is applied. The scientific novelty of the research lies in an attempt to compare the mimetic forms of traditional culture with the mimetic ways of reflecting the screen-type interface. By comparing these forms, the authors go out to study a broader phenomenon of modern society and culture – the phenomenon of technology. This research contributes to the development of the philosophy of technology in Russia. One of the tasks of the philosophy of technology is to study the subject of technical activity, which functions today as a new technical environment, in the context of digital and nanotechnology. Technical activity is the basis for the emergence of new knowledge about society. Technology acts as a form of materialization of ideas in practice, affects the development of technical sciences, all branches of knowledge in the modern world. Screen culture acts as a part of technical development based on the digitalization of technologies, but at the same time, it allows us to present technology as a unity of technology, man and society.

Keywords: technic, screen mimesis, mimesis, human, pattern, culture, screen, virtual reality, society, interface

Abstract: Russian animation director Alexander Svirsky is known for his desire to push the boundaries of animation and avoid traditional conventions, often rejecting the standards accepted in the animation industry. His works are a synthesis of artistic techniques, where the author uses images and symbols, harmoniously intertwining graphics with a musical accompaniment. The relevance of the study is due to the fact that the director's works deserve deep analysis in order to identify promising types of artistic forms in domestic animation cinema. The object of the study is the animated films of Alexander Svirsky, a visionary artist with a unique view of the nature of animation. The subject of the study is the peculiarity of the director’s synergetic animation, which manifests itself, in particular, in the integration of visual and sound spaces into a holistic artistic image according to the type of associative flow. The work uses a complex of general scientific (comparison, analysis, generalization) and special methods (visual-iconic, artistic-evaluative). In the analysis of animated films, descriptive-analytical and structural-semantic methods were used. The scientific novelty of the work is due to the fact that in art studies the analysis of the director's work has not been given sufficient attention, while the films he creates are highly appreciated at animation festivals. The author's contribution to the study of the topic is a detailed analysis of the director's work using some of his works as an example. The main conclusions of the conducted research are that the artistic form of Alexander Svirsky's animated films predominantly belongs to the promising, actively developed in the media space, flat-conceptual type, resonating with the perception of audiovisual content by the younger generation of viewers.

Keywords: aesthetics of the animated film, flat conceptual form, synesthesia in animation, Sasha Svirsky, russian animation, synergetics in animation, conceptual animation, visual culture, modern author's animation, animation technologies

Abstract: The subject of the study is the transformation of the director's concept in the conditions of spherical cinematography. The study analyzes the peculiarities of the director's work in the omnidirectional space. New expressive means are considered, including spatial sound and multiplanar mise-en-scene, as well as changing approaches to editing and dramaturgy. Special attention is paid to the peculiarities of the viewer's perception of spherical content and the prospects for the development of this format in the film industry. The aim of this study is to examine the influence of omnidirectional space on the director's conception. The study aims to identify key changes in approaches to editing, composition and dramaturgy. The following objectives are set: to analyze the peculiarities of directorial work in 360° format; to identify new expressive means emerging in the spherical format; to determine the impact of omnidirectional narrative on the viewer's perception; to assess the prospects for the development of spherical cinema and its integration with other media. Based on the methods of comparative analysis, the paper examines the influence of omnidirectional space on directorial intent. The main conclusions of this study are that the director's usual tools are not always adapted for use in spherical space. The novelty of the study lies in the fact that the work identifies promising directions for the development of spherical cinematography. The study shows that the use of omnidirectional space requires directors to develop new expressive means and strategies of interaction with the audience. The paper offers an overview of the key problems (challenges) and opportunities of spherical cinematography, which makes it relevant for theorists and practitioners in the field of audiovisual arts and will be useful for the development of new program and methodological material for student directors of various specializations.

Keywords: multi-layered mise-en-scène, virtual reality, non-linear storytelling, spatial sound, immersiveness, directorial intent, omnidirectional space, 360-degree video, spherical cinema, viewer attention management

Abstract: The article examines the work of the Soviet artist Pavel Leonov, one of the most famous naive artists of the 20th century, in the context of the nostalgic perception of his works by today’s audience. The nostalgic perception of Leonov's works is associated not only with the plots and themes (i.e. idealized, utopian Soviet reality), but also with the author's artistic method itself, based on the idea of invention and construction. This "constructivist" approach of Leonov correlates with the widespread DIY practices in Soviet culture, which today are also part of nostalgic imagery. A similar nostalgic effect characterizes a number of other artistic projects in contemporary Russian art. In order to study Leonov’s artworks, it is proposed to consider naive art, to which they are usually attributed, as a discursive phenomenon, rather than as an artistic style or movement, and to study individual artistic phenomena not through the identification of their "naivety", but by focusing on a specific artistic strategy as a manifestation of the historical and cultural context. Such an approach is effective, since the diversity of stylistic features of the works of various naive artists makes it difficult to single out naive art as a proper stylistic phenomenon. The formation of the discourse of the "naive" in art and culture has a long history traced back to the aesthetics of Romanticism, which allows us to confidently point out the ideological and axiological nature of this discourse in Soviet and post-Soviet art criticism, and how it was constructed, inheriting romantic ideas about naivety as simplicity and naturalness. The scientific novelty of the study lies in identification of "construction" as an important principle of Pavel Leonov’s artistic strategy and as the driving force behind the nostalgic effect of his works, noted by contemporary viewers.

Keywords: Soviet art, Soviet culture, design, DIY-culture, nostalgia, naive, naive art, Pavel Leonov, modern art, aesthetics

Abstract: This article examines the development of Chinese figurative Zhen-wu painting in the 20th century, its transformation under the influence of both external factors and internal cultural and political changes. The object of the study is the painting of the Zhen-wu of the 20th century. Zhen-wu is one of the oldest genres of Chinese painting, which has undergone significant changes due to the reforms, cultural movements and political events of the 20th century. The subject of the study is the evolutionary processes that took place with Zhen-wu painting in China in the twentieth century. This study identifies three stages: from 1900 to 1949, from 1949 to 1978, and from 1978 to 2000. The revolution in the country and art led to the fact that the Zhen-wu genre expanded its visual and content framework, integrating elements of Western realism and modernism. Since the beginning of the century, artists have explored new forms and methods, combining Western styles and techniques with Chinese traditions, which allowed the genre to gain a unique identity connecting the past and the present. In the second half of the century, figurative painting in China acquired a social orientation, especially within the framework of socialist realism, when workers and peasants became the main characters of the works. Realism also began to play an important role in the depiction of human figures. At the end of the 20th century, thanks to the policy of reforms, the genre of Zhen-wu again became more diverse and free from ideological restrictions. As a result, Zhen-wu was enriched with elements of Western painting, such as chiaroscuro, volume, linear composition, realism and became more pronounced in terms of psychologism. Thus, the study of the Zhen-wu genre century allows a deeper understanding of how China's cultural heritage.

Keywords: Fang Zengxiang, Lin Fengmian, Xu Beihong, modernism, Socialist realism, Guohua, He Jiaying, Chinese painting, Zhen-wu, Shi Golyan

Abstract: The object of the study is the Russian fine art of the XIX century. The subject of the research is the history of the interaction of Russian artists with Chinese culture, history and art, their perception and interpretation, as well as the features of the artistic embodiment of images and motifs. Iconographic, as well as stylistic and compositional analysis help to identify the content of the artists' works, their language and individual techniques. Comparing the works created both during their stay in China and after the completion of the mission allows us to show how Russian authors developed their impressions, contributing to the creation of a certain image of China in the eyes of Russians. The research methodology is based on a combination of techniques aimed at studying various aspects of the phenomenon of representation of Chinese art and culture in Russia. The methodology is based on a comprehensive study and comparison of various types of sources, research of artistic material, namely: works by Russian artists who participated in the activities of the mission, reflecting images and motives, techniques in their work. The interaction of Chinese and Russian art is an urgent topic of research in the art history of both countries. Against the background of the appeal to the assessment of the current situation and the history of such contacts, it is necessary to analyze the processes that influenced their formation. Russian Russian Orthodox Mission in the XIX century. The main, and sometimes almost the only means of maintaining communication between the two states was the activity of the Russian Orthodox Mission, which included painters associated with the Imperial Academy of Arts and, thus, the best traditions of the Russian art school. The stay of Russian artists in China left a certain imprint on their own creative manner, the choice of subjects, the specifics of the composition and the symbols used in conditions of maintaining adherence to academicism and realism.

Keywords: Russian-Chinese relations, cultural contacts, household genre, portrait, A. M. Legashev, Chinese culture, academic painting, Russian school, The Russian Orthodox Mission, Imperial Academy of Arts

Abstract: The article subject is dialogue about the development prospects of the so-called “embodied approach” in design, conducted by Western researchers for the past ten years. Some of the Western researchers indicate the fundamental impossibility of creating the theory of somatic-oriented design in view of the fact that such a theory will have to rely on the “silent” knowledge of the body. The author of the article sees the exit in, firstly, to turn to the experience of Chinese and Japanese designers, for whom “embodied cognition” is deeply rooted in the regional tradition; and secondly, to form a categorical apparatus necessary for the development of the theory of somatic-oriented design, based on the category of traditional eastern philosophy, allowing to fix the experience of the body (we are talking about the image “хiang” and the intentions “yi”). In the course of the study, the author focuses on the specifics of the body's perception in the East, since oriental experience does not lead to the expansion of involved perception channels (use in addition to vision, for example, smell and hearing), but to understand the project as a spontaneous process, form as an “open” for the embodied meanings. For oriental designers it is important not to “gestalt” of previous experience, but an embodied intuition of the future, aimed at creating a product later in demand by society. In conclusion, based on the categories of eastern philosophy, the author of the study introduces the concepts of “embodied image” (spontaneously arising figurative-scheme of human interaction with the environment) and “embodied design intention” (the direction of the thought to the transformation of reality, based on the somatic relations of the designer with the world).

Keywords: calligraphy, yi, project intention, xiang, embodied image, conceptual metaphor, somatic-oriented design, embodied mind, embodied design thinking, embodied cognition approach

Abstract: The article attempts to consider Chinese plant images in the painting of German porcelain products of the XVIII century as an area of interaction between Chinese and European artistic cultures. The subject of the study is the paintings of works of German and Chinese porcelain, which are considered as a "text" that includes not only plot-formal meanings, but also hidden structural and semantic formations. Using the example of plant images in the painting of Meissen porcelain of the XVIII century, the forms of reading and interpretation of the artistic features of Chinese porcelain by Western European masters are revealed and analyzed. The systematization and comparison of the elements of the artistic language identified in the considered works of art are carried out, the specifics of perception and interpretation by European masters of the language of Chinese art are established. Special attention is paid to the semantic meaning of the texts of works of art. By means of a comparative method, the paintings of Chinese and Meissen porcelain objects are compared, on the basis of the iconological method, the meaning of the porcelain works in the context of the culture that gave rise to them is determined. Thanks to the semiotic-hermeneutic method, the works of Chinese and European porcelain of the XVIII century were studied as texts, elements of the artistic languages of the East and West were established and characterized. The novelty of the research lies in the fact that it reconstructs the process of translation and the mechanisms of loss of symbolic meaning of decoration in Meissen chinoiserie porcelain products in the context of reception and interpretation of the artistic language of Chinese porcelain by Meissen masters of the XVIII century on the example of plant plots. A special contribution of the author to the consideration of the topic is the consideration of the painting of porcelain art objects as texts, the analysis of which is used to study the artistic language of Chinese and European art of the XVIII centuries, as well as the peculiarities of the communication process between them. The main conclusions of the study are the following: original works of Chinese porcelain containing plant images are distinguished by the depth and richness of Chinese cultural connotations. The Meissen masters, copying Chinese products, did not so much expound the original cultural meanings embedded by Chinese masters, as they interpreted Chinese images in the context and from the standpoint of European culture, endowing them with local content, connotations and symbols.

Keywords: reception and interpretation, plot-formal meanings, structural and semantic formations, the interaction of artistic cultures, porcelain painting, plant plots, chinoiserie, XVIII century, Meissen porcelain, Chinese porcelain