scholarly journals Technology as a factor in the cultural development of mankind: a study of the production nature of primitive culture

2021 ◽  
pp. 57-60
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Fire Control ◽  
Production Technologies ◽  
The Subject ◽  
Organization Of Production ◽  
First Time ◽  
Metal Melting

Purpose of article. Explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools of labor have become cultural artifacts, works of art. The emergence of production technologies (stone processing, fire control, metal melting) radically transformed the specifics of the organization of production activities, and therefore changed the course of cultural development. Therefore, in the course of the study, the formative role of technology in the formation of artistic culture was proved.

Culturological survey of primitive art artifacts

2021 ◽  
pp. 181-186
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Cultural Evolution ◽  
Art History ◽  
Technological Progress ◽  
Integrated Approach ◽  
Cultural Development ◽  
Aesthetic Form ◽  
The Subject ◽  
The Aesthetic ◽  
First Time

The purpose of the article is to explore technological progress in the context of the development of a primitive culture. The methodology is based on an integrated approach and relies on analytical (when analyzing philosophical, art history, cultural studies literature on the subject of research), historical (when clarifying the stages of development of primitive culture), and conceptual (when analyzing the role of technology in the cultural development of mankind) research methods. The scientific novelty of the article lies in the fact that for the first time the formative role of technology in the cultural development of mankind is investigated, and also the cooperative nature of the production of artifacts of primitive culture is determined. Conclusions. As a result of the study of archaeological finds of primitive culture, it has been established that in the course of cultural evolution, tools at hand have become cultural artifacts, and in the end – and works of art. The introduction of technological inventions has radically changed the specifics of the manufacture of art products. Consequently, as a result of the transformation of technological devices and understanding the logic of the organization of the production process, there is not only a decrease in the form of artifacts but also an improvement in the aesthetic form.

Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre

2020 ◽  
Vol 2020 (3) ◽  
pp. 82-93
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Art History ◽  
Artistic Practice ◽  
Partial Reconstruction ◽  
Theatrical Space ◽  
Native Art ◽  
History Of ◽  
Artistic Values ◽  
First Time ◽  
History Of Formation

This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.

scholarly journals Towards the realistic computer model of precipitation polymerization microgels

2019 ◽  
Vol 9 (1) ◽  
Author(s):  
Vladimir Yu. Rudyak ◽  
Elena Yu. Kozhunova ◽  
Alexander V. Chertovich
Keyword(s):  
Computer Simulations ◽  
Precipitation Polymerization ◽  
Coarse Grained ◽  
Polymerization Process ◽  
New Horizons ◽  
Experimental Systems ◽  
Structure Factors ◽  
The Subject ◽  
First Time

Abstract In this paper we propose a new method of coarse-grained computer simulations of the microgel formation in course of free radical precipitation polymerization. For the first time, we simulate the precipitation polymerization process from a dilute solution of initial components to a final microgel particle with coarse grained molecular dynamics, and compare it to the experimental data. We expect that our simulation studies of PNIPA-like microgels will be able to elucidate the subject of nucleation and growth kinetics and to describe in detail the network topology and structure. Performed computer simulations help to determine the characteristic phases of the growth process and show the necessity of prolongated synthesis for the formation of stable microgel particles. We demonstrate the important role of dangling ends in microgels, which occupy as much as 50% of its molecular mass and have previously unattended influence on the swelling behavior. The verification of the model is made by the comparison of collapse curves and structure factors between simulated and experimental systems, and high quality matching is achieved. This work could help to open new horizons in studies that require the knowledge of detailed and realistic structures of the microgel networks.

scholarly journals Propensity of undulatory swimmers, such as worms, to go against the flow

2015 ◽  
Vol 112 (12) ◽  
pp. 3606-3611 ◽  
Author(s):  
Jinzhou Yuan ◽  
David M. Raizen ◽  
Haim H. Bau
Keyword(s):  
Control Strategies ◽  
Aquatic Organisms ◽  
Life Cycles ◽  
Environmental Cues ◽  
Mechanical Forces ◽  
C Elegans ◽  
The Subject ◽  
And Function ◽  
First Time

The ability to orient oneself in response to environmental cues is crucial to the survival and function of diverse organisms. One such orientation behavior is the alignment of aquatic organisms with (negative rheotaxis) or against (positive rheotaxis) fluid current. The questions of whether low-Reynolds-number, undulatory swimmers, such as worms, rheotax and whether rheotaxis is a deliberate or an involuntary response to mechanical forces have been the subject of conflicting reports. To address these questions, we use Caenorhabditis elegans as a model undulatory swimmer and examine, in experiment and theory, the orientation of C. elegans in the presence of flow. We find that when close to a stationary surface the animal aligns itself against the direction of the flow. We elucidate for the first time to our knowledge the mechanisms of rheotaxis in worms and show that rheotaxis can be explained solely by mechanical forces and does not require sensory input or deliberate action. The interaction between the flow field induced by the swimmer and a nearby surface causes the swimmer to tilt toward the surface and the velocity gradient associated with the flow rotates the animal to face upstream. Fluid mechanical computer simulations faithfully mimic the behavior observed in experiments, supporting the notion that rheotaxis behavior can be fully explained by hydrodynamics. Our study highlights the important role of hydrodynamics in the behavior of small undulating swimmers and may assist in developing control strategies to affect the animals’ life cycles.

scholarly journals INTEGRATED APPROACH IN THE METHOD OF REPRESENTATION OF THE LECTURE MATERIAL ON HUMANITARIAN CYCLE DISCIPLINES

2021 ◽  
Vol 10 (34) ◽  
Author(s):  
N.V DEVDARIANI ◽  
◽  
E.V RUBTSOVA ◽  
Keyword(s):  
Integrated Approach ◽  
Leading Role ◽  
Lecture Material ◽  
Scientific Disciplines ◽  
Modern Natural ◽  
The World ◽  
The Subject ◽  
Russian Universities ◽  
Philosophical Understanding

This article presents the methodological development of lectures, material which may be used in the study course "Philosophy", "Philosophy of science and technology" and "concepts of modern natural Sciences" (cmns) for students of the Humanities in Russian universities. This lecture on "Philosophical understanding of the concept of "life": biocentricity picture of the world" presents the main approaches to the idea of the modern scientific picture of the world. Such a summary of the lecture material, according to the authors, due to the need to change existing approaches to teaching of specific disciplines. In particular those which involve integrated knowledge from different scientific disciplines and the subject of study which are universal categories and phenomena. It is noted that in the conditions of modern technogenic civilization machineoriented, justified is the issue of revision of existing views about the current ideological approach to the basic concepts, components of a comprehensive scientific picture of the world. In this article, the authors examine biocentricity picture of the world in which the author focuses on the leading role of the life. It is concluded that a comprehensive summary of the lecture material various areas of scientific knowledge, contributes to the formation of metacognitive abilities of students in the course of studying the above disciplines.

scholarly journals Actual issues of technological determinism concept in a mirror of cultural critic

2021 ◽  
Author(s):  
Tetiana Sovhyra
Keyword(s):  
Production Process ◽  
Art History ◽  
Integrated Approach ◽  
Cultural Development ◽  
Scientific Development ◽  
Technological Determinism ◽  
Artistic Practice ◽  
Art And Culture ◽  
Evolution Of Technology ◽  
Methods Analytical

Purpose of the Article. The article reveals the fundamental approaches to clarifying the “technology” concept, which is common in cultural, art history, and philosophical literature on this topic. The level of scientific development of the concepts of “technophilia”, “technophobia”, “determinism” is investigated and the influence of technical progress on the formation of art and culture, in general, is clarified. The methodology is based on an integrated approach and relies on general scientific and specific scientific methods: analytical – for considering philosophical, art history, cultural studies literature on the research topic; historical – for tracing the evolution of technology penetration into cultural and artistic practice, conceptual – for analyzing the concept of “technology” and clarifying the main concepts considered. The scientific novelty of the article lies in the fact that for the first time the role of technology in the course of the cultural development of mankind through the prism of a deterministic concept is played. Conclusions. The technology is conditioned by social requirements and introduced for the further development of the cultural development of mankind. This means that the concepts of technological and social determinism, although they are fundamentally different, are reciprocal, inalienable positions. If technology is transformed, the result of the production process changes accordingly. Consequently, technology and culture are not neutral, when technology is applied, it becomes involved in social processes. Knowledge of how to create and improve technologies, as well as how to use them, is socially connected. Any production process that is technologically thought out and organized (in particular, in a mechanical and electronic way) requires less human effort to obtain the desired result than one that requires manual work.

scholarly journals AGENTS IN THE PROCESS OF INCULTURATION: FRIEND OR FOE?

2020 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Okelloh Ogera
Keyword(s):  
Integrated Approach ◽  
Church Leaders ◽  
Human Beings ◽  
African Christianity ◽  
The Past ◽  
The People ◽  
Simple Question ◽  
The Subject ◽  
The Church

Purpose: This article looks at the role played by agents: the people responsible for articulating and implementing inculturation in Africa. The article asks the simple question of are these agents useful or a hindrance in the process of inculturation? The article begins by identifying these agents then discusses the challenges they face in the process of inculturation. The article concludes by giving a way forward and that is an integrated approach in inculturation.Methodology: This study will review the available literature on the subject with a view to examining what previous research says concerning the role of the agents, that is human beings, in the process of inculturation. This was done with the main objective of examining the challenges that he agents of inculturation face, and concluding by exploring an integrated approach to inculturation, where all the agents are brought on board. Findings: This study found out that if inculturation is to truly take root in African Christianity, it must bring on board all actors, not just Church leaders, and trained theologians, but also the laity. All these actors also need to overcome some of the challenges that have hindered the prospects of inculturation which include but not limited to fear of syncretism, lack of enthusiasm by some Church leaders, answering the question of culture in a post-modern and globalized world.Unique Contribution to Theory, Practice and Policy: This paper will offer unique contributions to policies and practices governing the attempts to make the Church in Africa truly African by proposing a re-evaluation of the way inculturation has been carried out in the past. This has tended to be spearheaded by professional theologians and some church leaders, neglecting the biggest constituency in the entire process, and that is the consumer of inculturational processes; the laity.

scholarly journals Visual art as a form of individualization of collective experience: Renaissance discourse

2021 ◽  
Author(s):  
Olena Chumachenko
Keyword(s):  
Art History ◽  
Visual Art ◽  
Da Vinci ◽  
Leonardo Da Vinci ◽  
Cultural Development ◽  
Subject Field ◽  
Marsilio Ficino ◽  
Collective Experience ◽  
The Subject ◽  
Pietro Aretino

The purpose of the article consists of exploring visual arts in the context of Renaissance discourse as a form of individualization of collective experience. The methodology consists of the application of analytical method – to determine the theoretical and methodological foundations of the study of visual art as a form of individualization of collective experience in the works of the Renaissance theorists: Alberti, G. Vasari, Marsilio Ficino, Lorenzo Valla, Pietro Pomponazzi; Renaissance artists – Giotto, Masaccio, Michelangelo, Leonardo da Vinci, Raphael Santi, Titian; formalization method – to clarify visual art within the subject field of art history in the context of the culture of the Renaissance; method of comparative studies – for analyzing approaches to understanding the visual art as a form of individualization of collective experience. The scientific novelty of the work is that for the first time the essence of visual art is a form of individualization of collective experience in the context of the Renaissance discourse. Conclusions. The article explores visual art in the context of the Renaissance discourse as a form of individualization of collective experience. Clarified the meaning of the concept of visual art and painting in the framework of the subject field of art history (concepts of A. Gabrichevsky, M. Kagan, V. Vlasov, A. Hildebrand). In the socio-cultural development of the Renaissance, there is an intensive process of individualization of the artist, and there is also a tendency to intensively turn to samples of ancient art, which testifies to the visual art as the brightest form of individualization of collective experience. In the context of comparative analysis, the concepts of Cennino D'Andrea Cennini, G. Vasari, Alberti, Lorenzo Ghiberti, Filarete, Piero Della Francesco, Leonardo da Vinci, Jean Peleren, Albrecht Dürer, Pietro Aretino, who described all the advantages of painting based on color, are considered; the Venetian artist Paolo Pino, author of Dialogue on Painting; Lodovico Dolci, author of Dialogue on Painting; the Tuscan writer A. Doni, who in his dialogue "About drawing" explained the priority of the Florentine tradition, in which the emphasis was on drawing, and not on coloring. Key words: visual art, renaissance, painting, collective experience, individualization

The emergence and proliferation of the shaloput sect in the Pavlograd district of the Yekaterinoslav province (second half of the 19th century)

2020 ◽  
Keyword(s):  
Rural Community ◽  
Russian Orthodox ◽  
Russian Orthodox Church ◽  
Special Scientific ◽  
Analysis And Synthesis ◽  
History Of ◽  
The Subject ◽  
The 19Th Century ◽  
First Time

Purpose. The article aims to highlight the history of the emergence and spread of the shaloput sect in the Pavlograd district of the Yekaterinoslav province. Research methodology. The methodological basis of the article is formed by the principles of historicism and objectivity, implemented using several methods: general logical (analysis and synthesis), as well as classification, comparative, and periodization methods. Scientific novelty. For the first time in Russian historiography, the subject of a special scientific study was the sect of pranksters and its activities in the Yekaterinoslav province. Based on missionary and police reports, the role of Grigory Shevchenko in the creation of the sect is considered, the area of ​​its distribution within the region is highlighted, the national and social composition of its members is determined. Conclusions. It has been established that Grigory Shevchenko brought in the Pavlograd district of the Yekaterinoslav province the shaloput doctrine from the southern Ukrainian regions, probably from the Tauride province. The sect he created was by its nature Christover or Khlyst. Its dogmas and ceremonial were of a pronounced mystical coloring. Grigory Shevchenko remained a completely independent leader of a group of his fellow believers, he did not belong to any more ramified community, and his community throughout its existence remained an autonomous unit. The attitude of the dignitaries of the Russian Orthodox Church and representatives of the secular authorities to the new religious organization was extremely negative. Various means of pressure were used against the sectarians: from forced interviews to sentences of the rural community and outright repression by punitive bodies.

Russian explanatory sentence as a semantic type

2021 ◽  
pp. 272-286
Author(s):  
Tatiana I. Steksova ◽  
◽  
Tatyana V. Shmeleva ◽  
Keyword(s):  
Semantic Features ◽  
Semantic Type ◽  
Complex Sentences ◽  
The Subject ◽  
Semantic Types ◽  
First Time

The paper interprets the Russian explanatory sentence as a semantic type. It is noted that descriptions of the semantic types of monopropositional sentences have already been carried out in the linguistic literature. For the first time, it is proposed to consider polypropositional semantic structures as a semantic type. The semantic nature of an explanatory sentence is defined as an expression of reflection on the events and phenomena of reality, with the position of the object-event accompanied by an indication of the reflection nature expressed by the governing predicate. General characteristics of this semantic type are given, as well as a number of semantic features serving as the basis for revealing the patterns of compatibility of various types of modus and dictum and the ways of their connection. It is proved that the previously existing qualification of relevance/factuality is based on overestimating the role of the brace and underestimating the predicative expression of deliberative. Several techniques are proposed to distinguish between thematic and factual utterances. Among sentence elements, the concept of the subject is the most significant for the typology of explanatory sentences, proposed to be divided into mono-subject and poly-subject ones. We note the poly-paradigmatic nature of the explanatory sentence and the presence of a number of its transformations used in the texts. The range of explanatory sentences with such an interpretation expands significantly without taking into account the boundaries of simple and complex sentences and some other constructive differences.

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