Abstract: The subject of this article is photography in the philosophy of Jacques Derrida, which is addressed for the first time in his work in the context of Roland Barthes' book "Camera lucida". In this publication, we have attempted to reconstruct a dialogue between the two eminent French philosophers, focusing on the problem of photography and related concepts and topics. Special attention is given to Jacques Derrida's short text, "The Deaths of Roland Barthes," written shortly after the tragic death of philosopher. In Derrida's view, Roland Barthes' "Camera lucida" is a text about ghosts, which permeate its fabric and logic and form the category of "punctum." Referring to Jacques Derrida's text "The Deaths of Roland Barthes," we used the concept of ghosts to analyze the phenomenon of photography. The concept of the "ghost" is explored in a number of texts by Jacques Derrida, allowing us to reflect on what is not present, has no actual form of existence, but at the same time returns to us with persistent frightening frequency. This is why the concept of the ghost can also be used to analyze the phenomenon of photography. Photography creates a unique "flattened" time, a time loop of sorts, in which the separation between presence and absence that should form it occurs. Photography snatches out a fragment of the present, in which a certain fundamental absence is already imprinted forever, the present, which we can see only because of its absence. Photography confirms reality, but it is not a "living" representation of the past as it is often portrayed. Photography spectrifies its viewer by employing a specific type of perspective, which establishes specific rules of perception, and creates a new type of subjectivity with unique characteristics.

Keywords: time, memory, death, ghost, camera lucida, punctum, photography, Barthes, Derrida, deconstruction

Abstract: Using Jacques Derrida's polylogue "Restitution, From truth to size" as a starting point of analysis, the article examines the problem of truth in painting. Derrida, referring to the famous dispute between Martin Heidegger and Meyer Sсhapiro over Vincent Van Gogh's painting "Shoes", not only reconstructs the details of this correspondence discussion, which stretched for many years, but also makes a sharp criticism of academic discourse, both philosophical and art criticism, equally limited in its total claim to knowledge truth in painting. Derrida comes to the conclusion that despite the external differences and internal opposition, the positions of Heidegger and Sсhapiro are completely in tune. Recreating the main directions of Derrida's analysis, the author reveals the idea of the "restitution of truth" in painting, embedding it in a more general philosophical context of the deconstruction of art. Restitution is inevitably associated with the appropriation and re-attribution of the meanings and images of an artistic work. This is exactly what happened in the "mirror speculation" of Heidegger and Sсhapiro, who sought to appropriate the truth of the "shoes" from Van Gogh's painting. Heidegger puts the shoes "on the ground", gives them to a peasant woman, Shapiro writes about their belonging to the artist Vincent himself, but, in the end, both famous professors only project their own identity onto Van Gogh's painting and force them to tell their truth, while embedding it in the framework of academic discourse.

Keywords: parergon, deconstruction, art, restitution, truth, painting, Schapiro, Heidegger, Van Gogh, Derrida

Abstract: The subject of the study is the process of digitalization and its socio-cultural manifestations. The author pays special attention to the impact of digitalization on art in the modern world. According to the author, the work of art is subject to the process of mass production, which has a certain connection with the process being studied. In the "digital age", a work of art penetrates into the Internet environment, where it acquires completely specific features. This is a new way of art's existence and its translation in the modern world. As a result, digital technologies become a trigger, one of the factors contributing to the process of mass production in art. Digital reproduction becomes aimed at meeting the entertainment needs of the maximum average viewer. The main conclusions of the study are the following provisions. Digitalization processes have an ambiguous effect on the main forms of art existence and its perception by the viewer. On the one hand, as a result of digitalization, art as a whole becomes more accessible and its understanding is simplified. On the other hand, digital reproductions are deprived of the status that the original has. In addition, such reproductions are aimed at pleasing the mass audience who wants to get the simplest product - bright, interesting and entertaining content, not loaded with deep meanings. In addition, cultural institutions that have traditionally been translators of art are losing their monopoly on it today. As a result, there is a gradual break in the connection between the viewer and the work of art.

Keywords: contemporary art, digital art, digital environment, mass production of art, mass production, digital rotation, visual rotation, art, turn, culture

Abstract: This article is dedicated to comprehension of aesthetic concept of the Russian poet Georgy Ivanov, reflected in “Disintegration of the Atom” and his poems of later period. “Disintegration of the Atom” is perceived as an attempt of creating the manifest of Russian modernism that in a lyrical form interprets views of the poet upon the crisis of art of the early XX century and way of overcoming it. Unlike José Ortega y Gasset, who formulated the key principle of art in Western modernism as “dehumanization”, i.e. renunciation of mimesis, and huts the meaning (article “Dehumanization of Art), Georgy Ivanov sees the only opportunity for overcoming the crisis of art in preservation of human content therein. The scientific novelty of this work consists in carrying out the first within Russian aesthetics analysis of Georgy Ivanov’s “Disintegration of the Atom” in the context of Western modernism, as well as in outlining his aesthetic concept that is based on synthesis of the ironic and lyrical beginnings, in other word, reflection about the form, rationalized thoughts of the artist on the existence.

Keywords: dehumanization, sense, music, lyrics, irony, modernism, The desintegration of atom, poetry, the crisis of art, the new harmony

Abstract: This article puts to the forefront the problem of unbiased and objective assessment of artworks by the expert community, analysis of the priority criteria of such assessment and chains of perception of professional works of art by the representatives of expert groups. The author leans on the fact that the expert community in the field of art may be defined as a category of professionals possessing extensive knowledge and erudition in the sphere of culture and art, attracted for conducting expertise on the contemporary artworks and cultural heritage of the past centuries. It is underlinesd that the problematic aspect of expert communities in the field of arts is the substantial disaccord of emotional and visual-imager perception different for assessing the works from the perspective of aesthetics, and demand to act by the rules, patterns and methods. The author also points out that the expert community in their practical activity should be guided by realization of the essential rules, laws, formulas, as well as see the zones for their implementation.

Keywords: perception of works of art, works of art, sphere of art, artistry, expertise, expert activity, expert society, knowledge society, aesthetics, philosophy of art

Abstract: This article examines the phenomenon of surrealism and its evolution until the 1930’s. The focus is made on the fact that the origination of surrealism is directly related to the cultural crisis at the turn of the XIX and XX century due to economic reasons of that period and the World War I. The author analyzes the trend of Dadaism, which significantly influence the key representatives of surrealism. The article explores the philosophy of Bergson and Freud; as well pays considerable attention to the persona of André Breton and his political views that largely affected surrealism. Methodology of this work is structured on the historical-cultural, comparative-historical, culturological, and philosophical analysis. As a result, the author was able to demonstrate that surrealism was way more than a cultural movement. It represented the philosophical concept that pursued a goal of social revolution, renunciation of anything old-fashioned and outdated. The previous capitalist society had to be replaced by a new classless society. Namely this was considered a recovery from the crisis.

Keywords: dadaism, revolution, culture crisis, communism, capitalism, Breton, World War I, surrealism, Freud, psychoanalysis

Abstract: The object of this research is the diversified and expressive phenomenon of the art. The author suggests examining art as a complex phenomenon that requires reflection from the side of various scientific disciplines of the socio-humanitarian type. The specificity of art allows almost all disciplines to join the research, however the most potential have the following sciences: philosophy, culture, culturology, sociology, ethnology, anthropology, and history of art. A systemic approach serves as the main direction for this research, which allows demonstrating the examined object within the correlation of culture, society, and human. Among the main conclusions lie the following positions: 1) the art has to be viewed on the interdisciplinary level, which significantly increases capability of deeper and more comprehensive study of this phenomena; 2) within the framework of various sciences and knowledge, there has to be established a unified theoretical-methodological strategy of studying art.

Keywords: art history, anthropology, knowledge, integration of science, ethnology, philosophy, sociology, culture, the science, socio-cultural aspect

Abstract: The subject of study of the proposed article is philosophical aspects of poetry Voloshin. Main attention is focusing on the problem of time, history, and the matter of land in the philosophical and poetic world of the poet. The study shows the relationship of philosophical motives lyric Voloshin with such thinkers as Deleuze, Derrida, R. Steiner, Heraclitus and Thales. Particular attention is given to identifying parallels views Voloshin with the philosophical ideas of Nietzsche. The article uses the basic methodological principles and guidelines of the philosophical analysis of a literary text, comparative literature, and deconstruction. The main contribution of the author's research theme is the philosophical analysis of the images, concepts poetic world Voloshin as time, a moment, the trail wound, sign, scroll, matter and earth. The novelty of the research lies in the explication of the idea of eternal return Nietzsche in the philosophical world of the poet.

Keywords: Voloshin, Nietzsche, the eternal return, time, moment, history, matter, Earth, track, scroll

Abstract: Phonographic heritage is seen as a communication system in Eastern Europe and as a subsystem of audiovisual culture which is the object of study. The subject of this study is the history of the national rock as a sociodynamic factor in the development of communications in the field of music recording in the Hungarian People's Republic. The author of the article defines the place and the role of the Hungarian rock music in the field of recording. The author describes in detail the system of recording of communications in the socialist era of Hungary. Particular attention is paid to the analysis of recording artifacts, in partiular, gramophone records with rock music. The methodological basis of the article involves a systems method because the study is based on a synthesis of different views in social-humanities sciences on the phenomenon of musical recording. The priorities of scientific research are the comparative-historical methodology and philosophical-anthropological analysis. The author concludes that rock music actually became the unofficial center of a special sociocommunication system centered in Hungary just like in other countries of the «Eastern block» and formed a youth musical subculture. The novelty of the research is caused by the fact that the author establishes the basic elements of Hungarian record communication related to the state company «Magyar Hanglemezgyártó Vállalat – Hungaroton» with several trademarks «Pepita», «Start», «Bravo», «Favorit», «Krém», «Qualiton» which today has acquired a special nostalgic cultural status.

Keywords: recording company, Hungary, sublabel, Eastern Europe, beat music, rock group, phonographic culture, gramophone records factory, label, trade mark

Abstract: As to consider all dialectics of art as process in works of similar volume it is impossible in principle, the author, in the research, allocates only some aspects of a dialektichnost of art creativity, on the example of creation of a work of painting. In the first section, the author considers dialectics of art as result of interaction of various polar forces, systems, the phenomena. In the second section, art creativity as the developing process in which basis such law of dialectics as "transition of quantity to quality" lies is investigated. In the third section, the author argues on dialectics directly of a work of art as about complete, integrated, ideal and material education where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is it is especially evident. The third section is devoted to dialectics sensual and rational, as one of characteristic features of the dual nature of the artist. Methodological base of research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. The research of these aspects conducted by the author allowed it to draw the following conclusions: In continuously moving, changeable formation of "fabric" of a work of painting, process of its development as continuous emergence something essentially new and irreversible in it is objectively realized. Each subsequent stage of development of the artist as the realizing individual, finds for him, hidden and invisible before, but now acquired, and from that the steps of his ascension becoming invaluable and, together with them, fixed "levels" of the untwisted spiral of his creativity. The work of art is a complete, integrated, ideal and material formation where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is is especially evident (by means of artistic images). As a result, it is necessary to record, characteristic for art process, the fact of transformation (transition) of conscious world outlook installation (idea of the life) through energy of the creative act – in an art product, in its form and its contents.Data of sensual level is an important initial material in which the artist receives information for the subsequent artly - creative processing. This initial, sensual and emotional material, as a result of rational activity is acquired and entirely appropriated by reason, forming the sensual and rational base for process of creation of a work of painting.It is necessary to state, as the creator, both the process of creation and the result are the dialectics of art creativity.  

Keywords: dialectics, art, fine art, color, artwork, art painting, development, quantity and quality, sensual-emotional, rational-logical, world view

Abstract: Since antiquity and up to now philosophers, art critics, critics, didn't ignore the problem of the viewer in art, its role and value for the artist, process of perception of a work of art, mechanisms of its interpretation by the viewer. Both art creativity, and art perception is caused by sociohistorical prerequisites.What viewer in the field of art video? The modern viewer is a user, the client, the observer, the accomplice, the coauthor? What place of the viewer in art in general from the point of view of various philosophies and socio-political systems? In the history of the art, the change which have recorded process of art styles and graphic systems throughout centuries, the XX century is considered as absolutely special period. This century generated such quantity of various directions, made so many experiments with visual perception, so legalized use of "others" receptions that the artist of our time is faced by a choice problem – in what graphic system to work, what "language" to speak with the viewer. It would seem, the artist is in a situation of a full freedom of choice of graphic language: no official doctrine prevails over it; there are no ordering instructions from above; the range of the directions is wide and various. And, nevertheless, never the artist was so we depend: it is more, than ever, it depends on the viewer, on his readiness to perceive and understand this graphic language. The phenomenological analysis of processes of perception meets extremely seldom, and art perception especially. The author believes that between the ontologic bases of a work of art (on Gadamera – game, a symbol and a holiday) and culture of time and space of its creation the steady set of meanings and the valuable orientations which part is quite often bared in dialogue of the artist and the viewer settles down. It caused a phenomenological view of a work of art in dialogue of the artist and the viewer. Between ordinary and art perception there is a considerable distinction. Picture – not only the image of that is available to a look, but also realization in a visible form of representations of the world and of a place of the person in this world. The artist possesses special perception – the surprise, unpredictability, novelty. And, besides, language of the fine arts doesn't remain to the same, as a century ago, at least because the world picture promptly changes – the Internet, the cellular communication, new technologies cardinally changed perception of time, space, speed.Language of the fine arts can and has to change owing to new forms of communication – performance, installation, a happening. But how? How to combine tradition and experiment? How to make active a field where the art perception will have an adequate spectator response? How there is that actual context in which the artist and the viewer enter fruitful interaction? On the example of notes to works and/or during an open dialogue with the audience the author answers many questions reflecting the author's position and at the same time gives us a chance to interpret his artwork in many different ways. 

Keywords: philosophy, fine arts, artist, viewer, game, symbol, holiday, culture, creative work, Internet