Stage as a universe of human communicative activity

The purpose of the article. The research is connected with the definition of culturological bases of synthetic image formation in the system of modern communication and opening of stage space as a communicative phenomenon in the context of the transformation of spectacular cultural practices of the XX century. The research methodology consists of theoretical and interpretive models of comparative and systematic approaches to the definition of stage space as cultural integrity. The scientific novelty of the work is to reveal the peculiarities of cultural creation of stage space in the twentieth century, when artists turned to previous systems of artistic reflection, figurative distinctions of the stage in culture. Emphasis is placed on the relevance of the study of the communicative properties of the stage in cultural construction. The stage can be remote, virtual, chamber, monumental. However, the scene from the category of subject-spatial dimension passes into another dimension - time. On the stage you can not break the unity of time and space, the stage is the unity of action and event, and also presents a certain space-time - chronotope, human image, an image of the day. Conclusions. The revival of the pre-cultural, pre-civilization in the broad progressive sense of the word world of the stage becomes the basis for a polymorphic definition of the communicative dimension of the stage as such. Stage space in the modern dimension requires a comprehensive interdisciplinary study, which focuses on discursive analysis, phenomenological and aesthetic studies of the categories "stage", "act", "action", "event", "creativity", etc. The article only raises the issue of interdisciplinary research tools. Further elaboration of the problem field requires separate investigations. Keywords: culture, universe, scene, action, event, chronotope, scenics.

Perceptual metric-guided human image generation

Pose transfer, which synthesizes a new image of a target person in a novel pose, is valuable in several applications. Generative adversarial networks (GAN) based pose transfer is a new way for person re-identification (re-ID). Typical perceptual metrics, like Detection Score (DS) and Inception Score (IS), were employed to assess the visual quality after generation in pose transfer task. Thus, the existing GAN-based methods do not directly benefit from these metrics which are highly associated with human ratings. In this paper, a perceptual metrics guided GAN (PIGGAN) framework is proposed to intrinsically optimize generation processing for pose transfer task. Specifically, a novel and general model-Evaluator that matches well the GAN is designed. Accordingly, a new Sort Loss (SL) is constructed to optimize the perceptual quality. Morevover, PIGGAN is highly flexible and extensible and can incorporate both differentiable and indifferentiable indexes to optimize the attitude migration process. Extensive experiments show that PIGGAN can generate photo-realistic results and quantitatively outperforms state-of-the-art (SOTA) methods.

THE ANCIENT IMAGE OF MAN: SPIRITUALITY AND CORPOREALITY

This article is devoted to the formation of ancient images of people. Human image always has historical and cultural meaning and manifests itself differently in different epochs. Forming the image of man, ancient philosophy tried to put people on a new level of comprehension, for it began to attach special characteristics to people, such as comprehension, freedom, language, worldly life, spirituality, corporality, thus isolating them from nature.

INTERPRETATION OF HISTORICAL AND CULTURAL HERITAGE IN THE WORKS OF CHINGIZ AKHMAROV

This article discusses the interpretation of historical and cultural heritage in the works of Chingiz Akhmarov. In the genre of portraiture, folk art is approached with high skill, revealing the characteristic features of its national bright patterns. The perfect study of the human image in his portraits achieves a full disclosure of the psyche of the aesthetic, spiritual world of the heroes of the work. Without repeating the miniature, he takes a unique artistic approach, based on the poetic plastic conditionality, artistic space and form, the decorative principle of composition, as well as the rich thinking color of medieval masters, linear graphics.

Deep Learning Image Classification of Red Blood Cell Deformability

Red blood cells (RBCs) must be highly deformable to transit through the microvasculature to deliver oxygen to tissues. The loss of RBC deformability resulting from pathology, natural aging, or storage in blood bags can impede the proper function of these cells. A variety of methods have been developed to measure RBC deformability, but these methods require specialized equipment, long measurement time, and highly skilled personnel. To address this challenge, we investigated whether a machine learning approach could be applied to determine donor RBC deformability using single cell microscope images. We used the microfluidic ratchet device to sort RBCs based on deformability. Sorted cells are then imaged and used to train a deep learning model to classify RBCs based on deformability. This model correctly predicted deformability of individual RBCs with 84 ± 11% accuracy averaged across ten donors. Using this model to score the deformability of RBC samples were accurate to within 4.4 ± 2.5% of the value obtained using the microfluidic ratchet device. While machine learning methods are frequently developed to automate human image analysis, our study is remarkable in showing that deep learning of single cell microscopy images could be used to measure RBC deformability, a property not normally measurable by imaging. Measuring RBC deformability by imaging is also desirable because it can be performed rapidly using a standard microscopy system, potentially enabling RBC deformability studies to be performed as part of routine clinical assessments.

Varia: The Enduring Power of the Classical World View

For the poet, prophet, and politician, as for the lover, the king, and the anthropologist, the human is the measure of all things. Philosophers and psychologists define us as a perceiving consciousness, an object determined by the environment, a subject not only capable of heroic individualism but also of esoteric understanding. For some, our measure is beyond things and our true worth lies not only in the here and now but rather in our freedom to transcend the bounds of self and prevail beyond the limits of temporality. For the artist, whose creative consciousness aims to redeem the human image from the constraints of brute anonymity, the questions about our status must be asked if not finally answered. The article considers the role that the classical world view plays in the process of artistic redemption. It looks at the Judeo-Christian and Classical legacies and their interpretations. Nineteenth-century Russian literature and religious philosophy are then analysed. The article winds up with a reading of select poems by Osip Mandelstam as special attention is paid to the ethical stance of the poet when confronted with the dictates of totalitarian power.

Transformation of the Human Image in the Paradigm of Knowledge Evolution

Purpose. The knowledge influence analysis on the formation process of new anthropological images of man in the contexts of scientific achievements and innovative technologies is the basis of this study. It involves the solution of the following tasks: 1) explication of the ontological content of knowledge in the anthropo-cultural senses of the epoch; 2) analysis of the knowledge influence on the process of forming a new type of man; 3) characteristics of the modern anthropological situation in the context of digital culture; 4) substantiation of interrelation of phatic communication with post-truth society in the dimensions of anthropo-social transformations of the present. Theoretical basis. Ontological content of knowledge determines the anthropo-cultural context of the epoch by forming a system of intellectual, value, social meanings of human life. The assertion of new anthropological types of man is caused by the changes in social and cultural space in the context of the growing influence of achievements in scientific knowledge and technology. Digital revolution as the process of expanding the possibilities of informational-digital reality, the substitution of knowledge for information gives rise to Homo digitalis – the digital man. He focuses on phatic communication, which in its intellectual meaninglessness is commensurate with the anthropological dimensions of post-truth society. Originality. It is substantiated that Homo digitalis is the result of a complex set of heterogeneous effects of scientific knowledge, which in modern post-truth conditions appears as different communicative practices. A condition for the formation of a new anthropological type of man in the perspective of scientific and technological progress is the affirmation of ethical wisdom. Conclusions. Knowledge in the process of evolution of socio-cultural life acquires constitutive significance for the process of formation of anthropological situations that manifest themselves in new images of man. Today, he is commensurate with the demands of digital culture, in which human life practices are increasingly becoming information and digital clusters embedded in the reality of a post-truth society. The means of overcoming the passivity of digital man is the formation of a new anthropological type based on a rethinking of the value system.

Artistic features of portrait works of people’s artist Huseyngulu Aliev

Achieving a realistic view of the image on canvas or paper is a key requirement of the portrait genre. Since the establishment of the professional school of painting, the portrait has attracted the attention of Azerbaijani artists and has been widely used in their work. Thus, in our miniatures of the Middle Ages, as well as among the paintings created in the XIX–XXI centuries, you can find beautiful, eye-catching portraits with high artistic value. Thus, the portrait has always occupied one of the main places in Azerbaijani painting. Of course, the main object of the portrait genre is a person, so its spiritual world and position in society is the main theme of fine art. For many years, portraits in Azerbaijani painting have been mainly dedicated not only to creative intellectuals, but also to workers, collective farmers and labor pioneers. In portraits, on the one side, there is a generalization of images, and on the other side, there is a more democratic approach to the selection of models. The characters in the portraits are close people, friends, relatives of the artists, or strangers who are attracted only by their appearance. Elements of painting in the human image of Azerbaijani artists attract attention: color, texture experiment, spatial elements, format, etc. It is known that in order to create a realistic portrait, artists must master the perception of emotions in a person’s environment, as well as master the art of realist painting. Throughout the development of the portrait genre, artists are engaged in research, trying to convey the true image of a person in an objective way. In the portrait genre, the image of the century was clearly visible. In the portraits of Azerbaijani artists, generalized, energetic, strong images are often replaced by psychologically complex characters. There is a growing interest in the spiritual world of images, the tendency to reach the depths of thought and intellect, to create a portrait with a rich spiritual content. Portraits created by Azerbaijani artists in modern times differ in their main features, such as deep spirituality and strict intellect.