EDN ATFRRUВ издании представлены статьи по материалам докладов второй международной научной конференции «Византия, Европа, Россия: социальные практики и взаимосвязь духовных традиций», прошедшей 22-24 сентября 2022 г. в Социологическом институте РАН -филиале ФНИСЦ РАН. Конференция была посвящена интеллектуальной истории трех основных комплексов практик цивилизационного развития в европейском, средиземноморском и евро-азиатском регионах в исторических истоках их возникновения и существования -Византийской, Западноевропейской и Русской цивилизаций, а также цивилизаций, входящих в ареалы их влияния и взаимодействия.Статьи адресованы специалистам по философии, социологии, теологии, истории, филологии, политическим наукам, искусствоведению.
The complete translation of cultural heritage into a digital format acutely poses the question of art’s place in the digital era. The search for an answer is built upon the foundation of proposed evolutionary models of the genesis of art. Transitional periods from one historical cultural era to the next are characterized by a change in the most popular types of art. The establishment of one or another type of art is rigidly connected with the introduction of new data storage media and coding techniques. The constant increase in the variety of genres and media has culminated in the digital display. The appearance of a universal digital media must be reflected in the energetic reconstruction of the artistic world, but the birth of new types of art will lag behind. Moreover, the problem of the existence or non-existence of art also becomes relevant. In parallel with the elimination of literature, a virtual excarnation of object plasticity is occurring. It is possible that art is irreversibly forsaking sensual and bodily language, but the idea that it is using such an unexpected lexicon in an attempt to break through to the individual directly seems more productive. The purpose of art is to expand the space of consciousness. The digital age is distinguished by its possibility to transform this space in surprising ways. Digitalization of a work has a clear basic similarity to the physiological process of convolution of a sensory signal in the depths of the brain. Computer-based dipoles and neural synapses are binary structures, described in binary symbols. A work that has been translated into digits can be seen as the projection of a certain neural configuration that has come together in the depths of consciousness and is revealed in the form of an image. The likely prospects of obtaining, instead of projections, a multi-dimensional digital display, as well as the potential possibility for the psyche to adequately decipher it, portend a holistic reading of the work and even closer contact between the artist and the addressee. Right on the horizon is the path towards a synthesis of images that go beyond the limits of the usual forms and sensations. And nowadays unimaginable classes of feelings are capable of generating many vibrant “types and genres”. At the same time, threatening to the habitual methods of sensory perception and facilitating the liberation of the spirit, the excarnation of art works promise a categorically new stage in the genesis of art as well as a different level of creation and perception.
In conditions of rough social changes and of ICT of development a museum-temple gives way to modern post-museum. Whether the museum-temple era came to end, or its potential can be demanded? In search of the answer, combining the social-analitical view (Benjamin) with a psychological analysis (Vygotsky), we will address a question of aura which traditionally defined emotional influence of museum exposition. Since moment when Benjamin noted that technical reproduction washes away aura, a scales of high-quality reproduction in network environment grew in thousands times and decisively devaluated sacrality of a museum space. Besides a democratic museum is guided by inquiry of a mass visitor with his specific perception. An ability of museum collections to cause the strongest “power” influence, powerful passions does not raise doubts. However, attempts to find the concrete localization, material traces inducing a mysterious field and defining surprising impact on a viewer do not lead to anything. In that case it is more logical to connect a disappearance of aura with a viewer. Author's creation, museum exhibit “will not take place”, without having met the viewer, his response. Art passion, emotional expenditure are provided not with external influence, but by himself viewer, his mental energy and experience. If following Vygotsky behind esthetic signs it can see author's experiences, then a suit of Eskimo and a painting – only certain sign-emotional display of internal insight of the author – of the original. A masterpiece, an exhibit are only a mediator between the viewer and the author. A museum visitor on an exposition uses visual language, reading clear and available graphic signs. However a museum demands not reading of information, but a contemplate, concentrated look lost in rational acceleration. Whether it is possible to revive this look and aura? Digital technologies which were a reason of disappearance of aura give a such hope. ICT technologies can be used not only as an entertainment for a bored tourist. Their potential is more that potential that is demanded in educational, educational programs. Only relying on experience and interests of viewer it is possible to adjust his on meeting with museum, with art. Experience and inquiries of the modern visitor – the network user – most full of are reflected in an array of network data. The analysis of these data (preferences) creates base to find connection of personal tastes and khowledge with those impressions which museum can offer. Similar programming of associations, special virtual assistance can influence perception, initiating interest, bright emotions which leave marks in memory and promote growing. Perhaps, a viewer supported by “emotional” program progress will find aura in museum again.
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