The dynamic processes taking place in society encompass all the meridians of activity-based forms of culture, including art. The social optics of everyday life shows that today the conditions for the existence of institutions can suddenly change, leading to a change in the way a person exists, transforming his place and habitual forms of activity, leading to an unexpected change in perception, destroying established expectations and goals. Time in such a new social ontology loses its processuality and connectedness, turning into isolated moments, impulses. Creativity processes either freeze, giving way to states of obscurity, prostration, or go into the development of a new media reality, into the public sphere of the digital environment and social communication. The above-described properties of the modern social world have allowed Sigmund Bauman to metaphorically describe it as fluid modernity. But if the borders are fluid and pass everywhere (M. Bakhtin), then the global question arises of the place and position of culture and, in particular, art. Time in such a new social ontology loses its processuality and connectedness, turning into isolated moments, impulses. Creativity processes either freeze, giving way to states of obscurity, prostration, or go into the development of a new media reality, into the public sphere of the digital environment and social communication. The above-described properties of the modern social world have allowed Sigmund Bauman to metaphorically describe it as fluid modernity. But if the borders are fluid and pass everywhere (M. Bakhtin), then the global question arises of the place and position of culture and, in particular, art.
In the article, music as a form of culture is considered in relation to the social theory of Z. Bauman. And also mentioned D.D. Shostakovich in the context of the double meaning of his work.
AUTORITA’ AND AUTOREVOLEZZA: EXPLAINING CONTESTATIONS BETWEEN POLITICAL AND RELIGIOUS LEADERS IN THE AGE OF THE NEW MEDIA
