Abstract: The article "Musical Movement as Anthropopractice and Life Path" investigates the phenomenon of musical movement (using the example of the "Heptachor" studio) as a unique anthropopractice that shapes a specific life path and type of personality. The author, relying on archival materials analyzed in the article by A. Ailamazyan and E. Tashkeeva "From Dance to Choreography – From Choreography to Dance: Integrity and Breathing as Means of Expressiveness in Free Dance (Based on Archival Materials of S.D. Rudneva)" and contemporary practice, identifies key worldview and methodological principles of this practice and life path. On one hand, it reflects an ideal of antiquity as a "golden age," on the other hand, it embodies free “dance” (in opposition to classical ballet), and on a third level, it emphasizes systematic integrity. For theoretical reflection, the author draws a parallel with the discipline of Karate-do, uncovering a deep similarity in their focus on personal harmonization and overcoming the crisis of contemporary culture. A semiotic-anthropological analysis allows the author to interpret musical movement not merely as a form of art but as a distinct "reality" and form of life in which the constitution of a new subject occurs through the synthesis of music, movement, and words. The conclusion is drawn that this practice represents a holistic path of spiritual and physical education aimed at creative self-realization and the resolution of existential problems of the individual. The author attempts to demonstrate that musical movement is, on one hand, a psychopractice, and on the other, an esoterically tinted life path of the individual. The structuring and articulation of this art form are influenced by four main factors: the experiences of the performed music, the resolution of the personal problems of the subject of musical movement, the environment created by the interpretation of the golden age, and the improvisation or staging of the musical movement as a work.

Keywords: dance, musical movement, karate, path, breath, music, singing, word, upbringing, structuring

Abstract: The article is dedicated to a comprehensive study of narrative painted tiles from the 18th century from the collection of the State Scientific Research Museum of Architecture named after A.V. Shchusev (GNIAMA). The aim of the research is to introduce the corpus of narrative tiles from the 18th century from the museum's funds into scientific circulation, as well as to determine their typological, iconographic, and stylistic characteristics. The study is based on the analysis of 14 narrative painted tiles from the 18th century from the museum's collection, selected based on the criterion of the preservation of the central composition. The work examines the typological, iconographic, and stylistic features of the tiles, including compositional construction, the nature of decorative framing, techniques for conveying landscape and architectural backgrounds, verbal components (inscriptions), as well as mechanisms of borrowing and transformation of pictorial motifs from Western European engraved sources (the Pisсator Bible, the Merian Bible, emblematic collections) in the Russian ceramic tradition of the 18th century. The methodological basis of the study includes iconographic, formal-stylistic, historical-cultural, and comparative-typological analysis of museum objects. The relevance of the study is due to the fact that despite the significant volume of accumulated knowledge in the field of Russian tile art, the specified collection has not yet been the subject of independent art historical analysis. Depending on the iconographic features, three typological groups were identified: tiles with narrative scenes and inscriptions, tiles with similar scenes without textual elements, and items with a dominance of architectural landscape. The narrative tiles from the GNIAMA collection represent not only examples of decorative and applied art but also a valuable source for studying the mechanisms of adaptation of Western European images by Russian masters of the 18th century. The collection demonstrates with exceptional completeness the diversity of typological, iconographic, and stylistic features of this type of ceramic art and has both theoretical and practical significance.

Keywords: 18th-century tiles, narrative ceramics, MUAR, Museum of Architecture, stove tiles, Western European engraving, inscriptions on tiles, iconography, Piskator's Bible, painted narrative tiles

Abstract: The subject of the research is the critical reflection of the 2000s regarding the concept of "slow cinema." The aim of the work is to reconstruct the initial premises that subsequently laid the foundation for academic interpretative models of "slow cinema." In the absence of comprehensive knowledge about this cinematic phenomenon, it seems necessary to reconstruct the genealogy of its formation at an early stage. The analysis of disparate texts within the discursive field allows for tracing the origins of the concept of "slow cinema," the process of its transformation, and its subsequent institutionalization. Special attention is paid to identifying the object-forming positions within the logic of early critical texts dedicated to the phenomenon of "slow cinema." This approach allows for the dis-embedding of propositions at the prenominative level, where initial representations of this phenomenon are formed. The historical approach facilitates an analysis of the content of the concept based on the premises of early discourse. The main method is dis-embedding, which allows for the deconstruction of the logic of conceptual reflection, revealing its internal structure. For the first time, the early critical discourse regarding "slow cinema" is examined as an independent stage in the formation of the content of this concept. Despite its stable usage in contemporary film studies, the process of forming its content in early critical discourse remains not fully reflected. In this context, the texts of M. Simontov, J. Romney, M. Flanagan, as well as materials from the blog "Unspoken Cinema" (S. Shaviro, G. Tuttle, N. James), laid the foundational statements for describing this phenomenon, later developed within conditionally disciplinary film studies that formulate their own interpretative models. As a result of the research, it is established that the early critical discourse formed a number of stable characteristics for describing "slow cinema," including the duration of shots, narrative reduction, contemplative modes of perception, and opposition to mainstream cinema within the binary opposition of "fast" / "slow." It is concluded that even at an early stage of conceptualizing the phenomenon of "slow cinema," a number of individual interpretative constructs emerge, proposed for describing films that share similar formal characteristics, in the absence of a clearly articulated program for the movement and self-identification of filmmakers as "slow." The early critical discourse acts as a medium for the formation of initial characteristics of this phenomenon as a result of the interpretation of cinematic works and the presumed viewer experience.

Keywords: slow cinema, critical discourse, film studies discourse, conceptualization, film criticism, formation of the concept, temporality, audience perception, slowness, film studies

Abstract: The subject of the research is the characteristics of the reflection of urbanization processes in the works of expressionist artists. The article examines a brief retrospective of the image of the city in the works of artists from the Middle Ages to modern and contemporary times, highlighting its transformation from literal depiction to emotionally charged figurative solutions. The object of the study consists of the works of expressionist artists and their ideological program, described by Ludwig Meidner. The author pays attention to urbanization as a cultural phenomenon, revealing the significance of the term and its understanding during the emergence of expressionism. The author also focuses on the embodiment of the city as an independent substance and the place of humans within it in expressionist works. The paper is supported by descriptions of examples from the works of expressionists that demonstrate the main programmatic postulates of Ludwig Meidner. An ontological method is used in relation to the retrospective of the image of the city in the works of artists, a comparative method for comparing approaches to the depiction of the city from the Middle Ages to modern times, architectural examples, and an art historical analysis method to identify characteristic markers of the city image in the works of expressionist artists. The main conclusions of the conducted research are: 1. The image of the city in the works of artists evolved from a primitive transmission in the Middle Ages to the emergence of perspective and realistic idealization in the Renaissance. In modern times, there was a gradual shift towards the emotional coloring of the urban landscape, initially serving as a backdrop for depicted narratives, and later, with the emergence of the landscape genre as an independent entity, becoming a complete representation. 2. Urbanization, as a process of transitioning from rural living to urban living, included not only technical changes but also social changes. The nature of people's activities changed, as did their forms of communication. In some cases, these changes led to a rupture of archetypes in society, resulting in new modes of expression in art. 3. Expressionist artists embodied in their paintings both the fascination with the novelty and vibrancy of urban life and the tragedy of the individual unable to integrate into the new environment. The city in their works is represented as bright, contrasting, and sharp, in contrast to the amorphous, or conversely, frightened or desperate images of people.

Keywords: expressionism, urbanization, city, urban landscape, Ludwig Meidner, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Erich Heckel, Fritz Bleyl, Wassily Kandinsky