Abstract: The subject of this research is the immersive artistic environments that exist in the modern cultural space. Immersive technologies are used today in educational processes, historical reconstruction, various forms of socialization, in visual arts; immersion is implemented as a special scientific approach in anthropological, ethnographic, art history studies. Interactivity and immersiveness are considered here as complex predictable processes whose algorithms are embedded in the very basis of an artistic work or cultural environment. They make it possible to intensify the entire spectrum of sensory-emotional perception, creating not only a new type of artwork, but also a new type of recipient immersed in the process of unfolding an artistic plot. The classification of functions of immersive spaces is proposed in the study. On the example of Russian and foreign art projects, the essential signs and features of immersive art are analyzed and identified. Immersive projects implemented in recent years are considered on the example of the cultural field of the north-west of Russia, as well as a comparative analysis of foreign and domestic events is carried out. The study concluded that immersive environments have both positive and negative potential: a complex effect on human feelings using special technological techniques that affect perception can lead to both the effect of complete immersion and catharsis, and to destructive hyperstimulation of the psyche. And the artistic immersions themselves are more a form of media communication than finished works.

Abstract: The article is devoted to the transformation of traditional folk culture archetypes of wood, stone, thread in modern decorative and applied art, as well as ways of using threads, wood and stone as materials for the manufacture of objects of modern art. The research does not aim to repeat classical ethnographic studies or to refer monographs on the history of culture. The article is an attempt at a comprehensive analysis of the modern practice of decorative and applied art from the point of view of the philosophy of culture and practical aesthetics. This approach is a unique experience in the analysis of jewelry and decorative practices of processing heterogeneous materials of natural origin. The cluster of masters of decorative and applied art in Russia is expanding, there are more and more opportunities and materials for creativity, but the authors of the products themselves are not engaged in stylistic, art criticism or philosophical understanding of their activities. Nevertheless, their works, according to researchers, reflect the oldest mythological images that are the cornerstones of Russian culture and represent the heritage of world culture, transformed by post-culture and man-made trends that have penetrated, among other things, into art. Archetypes of wood, stone, thread, preserved since ancient times, acquire new meanings and new forms of embodiment in the works of modern authors.

Abstract: This article examines the process of preservation of cultural heritage through interactive forms of historical reconstruction. The author reviews such relatively new for Russia phenomena as military-historical clubs, ethnic parks, thematic tourism zones, private museums and ethnographic collections, which familiarize with the history of our homeland in an interactive form. The active engagement of visitors and members of the club into the process of reconstruction of lifestyle and military traditions of previous generations is like being a participant of the restored history, which is more comprehensible than the textbook or exhibited artifacts, and thus arouses more emotional response  and forms a respectful and patriotic attitude towards the native country. It is established that ethnic parks, thematic tourism zones, private museums, houses of ethnography, created by the efforts of enthusiasts do not often become the object of scientific interest, at times receiving contempt from the professional scientific community. However, the practice demonstrates that historical reconstruction draws more citizen’ attention than the traditional museum. Such situation requires examination and defines its novelty. The result of research consists in the creation of value-oriented classification of historical reconstruction organizations, as well as in assumption that from the visitor’s or participant’s perspective the leading role in historical reconstruction is not so much the accuracy (with a certain degree of fiction), but the creation of a holistic image of living history, filled with the value meaning of the bygone era.