Abstract: This article is part of the extensive research of value characteristics of IT community and their potential for innovative development. In view of this, the author examines the problem of determination of the modern cultural situation and, as a result, deduction of the criterion that establishes what “modern” is. Based on the previously acquired conclusions (according to which, such criterion is the consideration of irreducible multiplicity, and the major risk is the loss of autonomy by individuals), the author aims to find the model of subjectivity that would be simultaneously multiple and autonomous. The search for the model that meets such criterion is carried out through referring to the control technologies developed within the framework of third-order cybernetics. The novelty of this article consists in peculiarity of the approach towards solution of the set task: the question in the form and method of determination of modernity has been first raised and  solved within the framework of the Russian academic philosophical community at  the previous stage of research, which determines the relevance at the current stage as well. Comparison of the developments of Russian and foreign authors reveals the parallelism between the development of cybernetics and psychoanalysis; demonstrates the conceptual intersections of the third-order cybernetics and schizoanalysis; establishes the conformity between the subjectivity of the individual and the type of organizations they are engaged in. The article offers the concept of “dividual” as a model suitable for solution of the set task. The conclusions is made that the existing potential of the IT community for modernization is neutralized in the context of transition towards the hierarchical structure of the organization.

Keywords: Autonomy, Body without Organs, multiplicity, Gilles deleuze, deconstruction, Jacques derrida, Modernity, subjectivity, Postmodern, Virological epistemology

Abstract: This article reveals the basic techniques and approaches formed at the dawn of two important and relevant vector of interaction between theater and cultural anthropology in modern theater art, anthropological theater and theatrical anthropology. The goal of this research lies in the analysis of basic techniques and terms that emerged at the early stages of establishment of practical and theoretical approaches towards studying the ritual and theatrical forms. P. Brook's expeditions raised the question of the key elements of theatrical art. For achieving the result, the English the director and screenwriter used bodily techniques and work with space and objects existing in ritual forms. E.Barba, while working in Amazon jungle, resorted to the tactics of participant observer B. Malinowski. The technique of cultural exchange, which appeared in 1970s, is used by K. Kazimierzczuk and modern Polish anthropological theater. The methods of cultural anthropology underlies the formation and development of new ways of interaction and communication between the actors and audience. The experimental works of Peter Brook and Eugenio Barba of the 1970s are analyzed from the perspective of using the methods of cultural anthropology by stage directors. Anthropological theater and theatrical anthropology reveal to modern practitioners and theorists of theatrical art a wide variety of unique methods of work with corporeal nature of the actor, and become the foothold for the development of new relations between the actor-performer and viewer-copartner in performative practices and multicultural phenomena.

Keywords: liminal stages, collective unconscious, included observer, acting training, field research, cultural exchange, body techniques, anthropological theatre, cultural anthropology, theatrical anthropology

Abstract: This article discusses the comprehension of art and its attitude towards ordinary life in form of a virtual dialogue between Mikhail Bakhtin, Marina Tsvetaeva and the contemporary Israeli writer Meir Shalev. Pursuant of M. Bakhtin, who believes that humanistic approach gives preference to the subject of aesthetic relations, the author suggests his interpretation of the nature of art. The author qualifies the position of M. Bakhtin as "artistic Platonism" ‒ art should dictate and inspire life; art is the true life, according to Plato, imitates the objects and events of ordinary life. The position of M. Tsvetaeva suggest “art for the sake of art”. The position of M. Shalev on the one hand – as an independent reality, on the other – comprehension and perception of the problems the artis and the audience are concerned with in artistic form. The author highlights the four main types of art: "authentic" oriented towards culture and man, "postmodern" deconstructing the reality of life and art, "traditional" focused on different attitudes (imitation, expression, representation of the sublime and beautiful, building a different life, etc.). and "applied". Based on interpretation of the attitude of art towards life, the following dilemma is formulated. On the one hand, the artist creates in the space of freedom, and thus would not take on responsibility for life (the position of M. Bakhtin); on the other hand, since art affects people and ordinary life, the artist is mindful of possible responsibility. The author believes that all artists solve this dilemma in their own unique way, which makes it virtually impossible to formulate recipes and rules.

Keywords: work, reality, deconstruction, concept, understanding, viewer, artist, art, form, language

Abstract: This article offers solution to the traditional problem of correlation of the artistic form and expressive means of art with individual creativity of the artist and audience. Comparison is conducted on the views L. S. Vygotsky and Mikhail Bakhtin on art. The author formulates the hypothesis that art is a life that is constituted equally on the laws of “Self” and the laws of artistic language and form. The hypothesis is proven by the authorial interpretation of art as a system that includes three different dimensions. The works of the prominent Israeli writer Meir Shalev serve as the illustrations. The first dimension indicates the social conditions of art: "non-utilitarian " (non-production) life of individuals dealing with art, which suggests spare time, opportunity to observe, reflect, experience, and not be criticized. The second dimension is artistic communication, which suggests the so-called division of labor, processes of comprehension and miscomprehension, intermediaries (philosophers of art, critics, and art historians) who help to interpret art and artworks. The third dimension is artistic creativity, the intersection of the lifeworld of the artist (and audience), challenges and creative pursuits, knowledge of the techniques and expressive means of art. The peculiarities of artistic creativity are viewed on the two cases: the description of absolute beauty in the novel “Fontanella” by M. Shalev, and reconstruction of the musical action of “The Poem of Extasy” by A. Scriabin, which encompasses the groups of musical action and symphonic performance of the poem.

Keywords: musical movement, image, communication, concept, understanding, artwork, art, personality, form, aesthetics

Abstract: The subject of this research is the theme of violence in Colombian art as a reflection of political and social conflicts in the country. Political, economic and social problems in the history of Colombia of the XX century are closely intertwined, resulting in a complicated situation of coups d’état and terror, which affects different types of art in the country and representatives of the cultural elite. The conflict that stretches since the early XX century is reflected in the Colombian architecture and painting. It is depicted as rather conservatism and alienation from the constituency in architecture, and from the critical perspective in painting. The projects of the Palace of Justice are taken as an example of the changes in architecture. Trends in the visual arts are revealed in the works of Beatriz Gonzalez and Doris Salcedo. One of the central events in the political and social history of Colombia of the XX century – 1985 Palace of Justice siege – has found a special place in their art. The novelty of this research lies in using the comparative method of analysis. This is the first Russian-language research to draw the parallel between the architectural changes in the projects of the Palace of Justice in Bogota and the impact of the events of November 6 and 7, 1985 upon Colombian painting based on the works of the two remarkable Colombian artists. It is established that different types of art show different response to the political and social disturbances that take place in the country. This is substantiated by differentiation of the political-social order in various types of art.

Keywords: colombian history, art in Colombia, peace process, latin American art, enforced disappearance, art and violence, Palace of Justice siege, partisans, Beatriz Gonzalez, Doris Salcedo