THEATER AS ANTHROPOLOGICAL MODEL OF «MIRROR OF LIFE» AND EDUCATIONAL STRATEGY OF GAME IN F. SCHILLER'S PHILOSOPHY

The article explores theater as anthropological model in F. Schiller`s philosophy. The purpose of the article is to give consideration to theater, its educational functions in the philosophy of F. Schiller. The objective of the study is also to analyze the educational model of theater as a «mirror of public life» and reflection of this model in works of F. Schiller, its anthropocentrism, Theatrical play is considered as educational strategy for transformation of man and humanity, the importance of theatrical art is considered as an effective tool for mass culture. Scientific novelty. Animal (physical) and spiritual nature of man are closely interrelated and without this physiological and mental connection human life would be impossible (early works of F. Schiller). The completion of Schiller’s aesthetic research is in his philosophy of theater. To understand such a new stage in the development of theater, Ericа Fischer-Lichte suggests the concept of «philosophical theater». We argue that this concept is more related to theatrical practice, so in our work on Schiller’s philosophy and his theoretical legacy, we can use two concepts: «philosophy of theater» and «philosophical theater». At the same time, we pay more attention to anthropological consequences of Schiller’s philosophical and aesthetic pursuits. The concept of beauty and appeal to high art is central in Schiller’s philosophy because, as he believed, without these components it is impossible to form a virtuous and happy person. Beauty (theatrical form, performance) connects senses and mind – it can be a means for a person to move from matter to form, from sensations to laws, from limited to unconditional existence. In our work we have highlighted and analyzed educational functions of theater in the philosophy of F. Schiller. As one of representatives of the German Enlightenment and idealism, F. Schiller suggests Enlightenment model of theater as a «mirror of social life», the way of educating humanity and correcting its mistakes. This model is anthropocentric because it involves certain identification of art form and man himself through the live image. The best way to form such live images is theatrical art as it involves free playing nature of man, thus acting is not only a means of influence (moral didactics) but also organization of society (state, national theater), especially in critical situations of socio-cultural development. Schiller’s theater became a philosophical response to French Revolution, that is, a means of reforming society and man without violence through artistic transformation.

DOCUMENTARY AS A PHANTOM

The aim of the study is to reflect on the problem of the “documentariness” of documentary films based on the refinement of the semantic spectrum of the “documentary” concept. The definitions spectrum of the “documentary” concept in classical and post-non-classical film studies from B. Matushevsky, J. Grierson and D. Vertov to R. M. Barsam, J. Gaines, P. Lorentz, R. D. McKenn, B. Nichols, M. Renov, L. Ward (and others) is analyzed. As a generalization of these definitions, the author’s definition of “documentary” is proposed: the term “documentary” refers to a film not as an affirmative form of a completed film statement, but as an interrogative form of an open film gesture balancing on the verge of “truth” and “fiction”, as the continuity of an implicit mutual transition between non-fiction and fiction methods of cinema narration, a kind of hybrid between the video fixation of authentic facts with documentary value and their cinematic interpretation, which involves a reconfiguration of the reality caused by the “observer effect,” an interpretation of documented facts, and a creative implication of the ideas of the authors of the film. are a kind of hybrid between cinema recording of authentic facts of documentary value and cinematic interpretation of them, which involves reconfiguration of reality caused by the “observer effect”, author's interpretation of documented facts and creative implication of the ideas of movie makers. “Hybrid” genres combining the features of documentary and features of non-fiction film are described: “docudrama”, “mockumentary”, and the “art-dock”. The problem of the “documentariness” of documentary is considered with the help of a number of film cases from L. Riefenstahl, P. Watkins and R. Carmen to V. Mansky, S. Loznitsa and I. Khrzhanovsky. The main conclusion to the study is the assertion that there is sufficient reason to consider “documentary” a very abstracted “empty signifier” – a concept with a “blurred semantic field” and a “weak ontological status”. In general, the “documentariness” of documentary is as much desired as the shaky movie illusion: there are documentary shotings and documentary shots as the primary material of the film, but the “documentary” film as such does not exist, or it is a phantom.

GAME PHENOMENON IN MEDIEVAL CULTURE

The Middle Ages added their own ludological culture traditions to those which they had inherited from the Ancient Ages. First of all, such notions were connected with the form of existence and perceiving the Christianity which was a basis for the whole civilization. Epistemological notions of those times were also built in accordance to those norms of world outlook. A cognitive act of an individual was understood as entrance of the subject to the world of general tragic game where he is risen up from sensual forms of being to being of over-sensual beauty, which is defined only through forms of mental cognition and through beauty to over-essential being of its Creator. Philosophical thought of the Middle Ages inherited the Platonic ludological tradition. According to these notions, personal creativity of an individual (artistic, scientific etc.) was understood as being identical with cognition and perceived only as reproduction, retrieval of what had already been programmed by the Creator, that is, as a game and through the game. The brightest page of the Middle Ages is connected with chivalry and its comprehension because the phenomenon of chivalry is the top of medieval culture, its ethical and esthetical ideal, which was over-thought by its self-consciousness as a form of game. Distribution of roles covered all main manifestations of individual’s life. Therefore even usual outside manifestation of any personal emotions by an individual in his public life (happiness, satisfaction, anger, despair, sadness and so on) was subject to this “role dictate”. So, a sphere of public emotions display by an individual was also predetermined by imperativeness of his own social role he was playing. We can speak about consciousness of those times perceiving a poetic text as a played game and author art as predominantly performing art. Then constancy of plots and anonymity of works, which is a feature of medieval literature, becomes more understandable; as every author perceived it as a script and tried to play his role as best as possible; his role was written down as a corresponding text. Moreover, we should add that a similar game was predetermined also by some other peculiarities of medieval mentality. The reason is that medieval people tried to identify themselves with a certain sample which had already had a certain approbation, to achieve full self-expression and make this self-expression understandable for the society. A role was determined and a model of behavior was built according to the admitted interpretation of this sample and its allegoric meanings (most often, there were widely known Biblical images). These established forms of self-expression made processes of understanding and interpersonal dialogue easier.

THE IDEA OF EMBODIED MIND AS SUBSTANTIATION OF CORPORAL RATIONALITY

The question of Post-Enlightenment rationality attracts attention of scientists in various fields of knowledge. Author believes that its justification should be strengthened by an appeal to corporal rationality. With understanding it as normative interactivity, the design of which is clearly dictated by the morphology of body and has an applied character, author believes that for its more thorough understanding, it is necessary to turn to the latest works of famous specialists in the field of semantic and cognitive linguistics, to J. Lakoff and M. Johnson. According to the idea of the corporeal mind, man is a creature that is subject to central nervous system. That is, person can only think about what mind / body is transmitting (the embodied mind). Based on reflections about emergence of metaphors, they conclude that human body determines a set of fundamental spatial relationships used not only in the process of self-orientation but also in the process of perception of spatial relationships between objects. The description of body and our views, understanding, complexity of thoughts are formed due to the system of mental images and motility. Body and sensorimotor system is a key component of the conceptual scheme. Thinking process itself takes place on the level of "cognitive unconscious" (this level of thinking process includes automatic cognitive operations, hidden knowledge, hidden beliefs etc.). Such "cognitive unconscious" produces conscious thinking without participation of consciousness. They assume that the source of categories are neural structures and bodily experience, and the terms of embodiment are used to form abstract concepts. Such "embodied abstract concepts" are the basis of thinking, which means that human thinking is also embodied. Thus the idea of embodied mind confirms the rejection of Cartesian dichotomy mind-body as anti-scientific, and any understanding of rationality must take into account corporal rationality.

APPLICATION OF SYSTEM-INTEGRATED METHOD FOR ANALYSIS OF BIOSOCIAL SYSTEMS

Usage of system-integrated method in consideration of biosocial groups (human social society, social biocommunities of animals) is the most promising approach in the study of these associations, both in the "personalized" study of human society (or animal biocommunities) and in the comparative analysis of the latter between them. The aim of the article is to consider the possibility of applying system-holistic analysis in the study of biosocial systems, which are represented by both human society and social formations characteristic of animal communities. To achieve our goal, we set the following tasks: 1) identification of main methodological characteristics of biosystems; 2) to describe structural organization of biosystems. Summarizing the aforesaid material, the following should be noted: Firstly, real biocommunities have the main attribute of the system - a hierarchical structure. In other words, they are structured systems, which allows us to speak of them as integral entities. Secondly, the structure of biological communities is inextricably linked to its function. Considering the biosystem, it is necessary to distinguish between static, dynamic and genetic structure. The first one reflects the structural interaction of the elements, and the second one the scheme of their relations in the active functioning of the system. Genetic structure indicates the degree of relatedness (similarity) of the elements of the system. Based on this, we can offer a number of methodological approaches to the study of biosocial structure, namely: 1. fixing a number of functional levels and a number of individuals-elements in each of them; 2. description of functional interaction between "static levels" in the interaction. Without knowledge of functional unity it is impossible to understand the "expediency" of certain elements of the system. Thus, system-holistic analysis can be used to describe biosocial formations (human society and biosocial groups of animals). Consideration of these associations as system-structural units is an informative method of their study.

HOLOCAUST REPRESENTATIONS IN PAINTING BY FELIX NUSSBAUM

The article is devoted to the analysis of Holocaust representations in Felix Nussbaum’s paintings according to historical-philosophical, visual-anthropological, semiotic analysis. Topic of the article is justified by insufficient study of Holocaust images in painting, including the way of representation the memory of the Jewish genocide in painting, experience of deportation to death camps, Holocaust traumas. The relevance of the article is due to insufficient study of the work of the German artist of Jewish origin Felix Nussbaum, who was a victim of Holocaust. Nussbaum as an artist represents an artistic movement «New Objectivity» which was focused on reflecting real essence of things; the artist was also influenced by modernist movements as well as the anti-Nazi one. Nussbaum is a victim of Holocaust who was forced to flee from Germany with his family, constantly go into hiding, and in the end he perished in the concentration camp Auschwitz. Significant period of Nussbaum’s legacy is dedicated to the reflection of horrors in the camp Saint-Cyprien (an internment camp), where he was sent. The author considers the concepts of cultural memory in foreign historiography, concepts of the existentialism philosophy, through the prism of which he analyzes the practices of Jewish genocide (Jewish isolation, destiny of refugees, etc.) and what images panting used for its representation. The article investigates, how events of Holocaust affected the formation of artist`s subjectivity, his artistic manner, symbols and artistic means which he uses in his works. In the perspective of visual-anthropological analysis author highlights problematic topics and typology of images, which were reflected in the paintings of Felix Nussbaum, namely: traumatic experience of emigration for survival, experience of deportation and life in the camp, feelings of fear and approaching of death, family theme and personal experiences of the Holocaust. The author highlights autobiographical, historical-philosophical, artistic aspects of Felix Nussbaum`s paintings. The article considers what artistic means Nussbaum used to oppose the policy of Jewish genocide through painting. Based on Felix Nussbaum’s work, the author analyses how the artist depicts «traumatic places» (based on Aleida Assmann), and how he expresses his traumatic experience in artistic images.

THE ROLE OF TRANSDISCIPLINARY DIALOGUE IN MODERN INFORMATION SOCIETY

To identify and characterize the role of transdisciplinary and multidisciplinary dialogue in modern information society. Theoretical basis of the study is presented by works on essence and development of post-classical information society. A separate block is represented by works on knowledge and science, which are changing in modern societies under the influence of informatization and globalization. Theoretical basis of the study is grounded on ideas about transdisciplinarity, transdisciplinary field of research as a field of dialogue between different sciences and paradigms. Scientific novelty. It is hypothesized that transdisciplinary dialogue is one of the basic principles of modern information society formation, in this double principle of dialogization is implemented - both plurization, dialogization of truth in science and philosophy is performed, and another process - science and transdisciplinary research contribute to the development of new information technologies, mediation and democratization of society, where information society acts as a main customer and consumer of transdisciplinary knowledge, adapting it to new needs of media culture and digitalization. The role of transdisciplinary and interdisciplinary dialogue in modern society is shown, as well as the understanding of this dialogue from the point of view of philosophy and the humanities. The need for democratization and harmonization of knowledge is proved, it is shown that with the spreading of interactive dialogue democratic institutions penetrate into information structures, thus providing an opportunity to talk about the plurality of truth and complementarity of different ways of cognition. It is revealed that transdisciplinarity is provided by special procedures of dialogue and scientific research, including reflection and transflection, fractality, «included» view, intersectoral expertise, including environmental parameters. Thanks to dialogue, knowledge is centered around man and civil society, a combination of anthropological, socio-philosophical, physical-mathematical and ecological-biological paradigms. It is stated that the development of transdisciplinary and scientific dialogue leads to overcoming the boundaries between humanitarian and natural approaches to reality, the universalization of science as a way of cognition.

PLACE OF METAPHOR IN NEUROPHYSIOLOGY AND THEORY OF ARTIFICIAL INTELLIGENCE

The article analyzes metaphor through the prism of neurophysiological approach and theory of artificial intelligence. Also the most important concepts for management of technical object are considered: condition, algorithm and adaptation. Metaphor is an integral element of creative process, its necessary tool, it is metaphorical element in thinking, among others that promotes interaction of logical thinking with insight. Perception of an object means gaining "access" to those programs which control interaction with the object, i.e. through perception that is irrational, relative and limited in humans (and also limited in the robot), is a transition to the rational side of the brain where logical decisions are made. Metaphor and analogy, the abstract operate in the right hemisphere, which is the "producer" of creativity. Thus metaphor is extremely close to creativity and is one of the mechanisms of creative self-realization. Human brain evolved from the brain of animal that interacted with the environment without the help of language and which also has hemispheres of brain. If we consider language as one of the elements of brain improvement, it jeopardizes the approach of many psychologists who believe that language is primary. Animal does not use metaphor when it "communicates" with other animals: it gives signals and signs in its "direct" meaning, while man reinterprets some words through other ones where the spiritual is intertwined with the material. The vestibular apparatus, located in the temporal bone, controls the position of body in space and accelerates its movements, that is why language is spatially oriented, and hence metaphor is. Interestingly, the receptors are also present in the internal organs, such as those that control blood circulation or digestion. Existence of such receptors can explain existence of “occasional” metaphors based not on five known feelings.

SOCIOCULTURAL ANALYSIS IN CONTEMPORARY PHILOSOPHY OF SCIENCE

The contemporary analysis of science is impossible without taking into account sociocultural characteristics. Philosophy of science suggests the comprehensive analysis according to three main directions: a methodological direction, a sociological direction, and a socio-cultural direction. Two last directions allow to take into consideration influence socio-cultural factors have on scientific knowledge. The sociocultural aspect of researching science contains studying it as a social phenomenon, as a collective and social process first of all. Realizing a social need in sociocultural researches of science was caused by a necessity to describe the most important social functions of science in a separate independent shape. This approach allows to distinguish a number of typical phenomena and science categories which enable an adequate opportunity to explain its social qualities. The comprehending of results of a sociocultural approach contains also using a culturological analysis of science. It is worth noting that such approach had been formed in Kant’s philosophy and in philosophy of Schiller who was a Kant follower in terms of developing philosophical ideas but it had been disregarded by a philosophical community till the middle of the 20th century. In a number of modern philosophical conceptions, the sociocultural is defined even more broadly and is corresponded to the actual concept. The presented research will also help to designate the feature of the articulation of “knowledge/society” in the modern philosophical and culturology conceptions. Peculiarities of producing scientific knowledge are caused by corresponding characteristics of a science object.

HUMAN EXISTENCE PRESENT AND FUTURE (PHILOSOPHICAL REFLECTIONS ON THE IDEAS OF Y. N. HARARI)

The article is devoted to the concept of Y. N. Harari on the evolution of humankind, its current state and prospects for future development, set out in his works "Sapiens: A Brief History of Humankind" and "Homo Deus: A Brief History of Tomorrow". Harari offers quite original ideas about the main stages of civilization. He emphasizes that the development of humankind has been determined by three revolutions: cognitive, agrarian and scientific. The first revolution led to the emergence and spread of the species Homo Sapiens; the second – determined the relationship between man and the environment; the third is capable of bringing to an end the history of humankind, and of beginning a new history to which man, as he/she now exists, may no longer have any relation. In this regard, Harari addresses purely philosophical issues. He reflects on what is the essence of man, what is the meaning of his/her life, what should he/she strive for, where is the line between man and superhuman forms of existence, how will society change in the future, what are the global challenges facing humanity now? As a result, Harari concludes that the urgent task of modern humanity has been to find immortality, happiness and superpowers that can turn people into gods. In a sense, this transformation has already begun. Thanks to unprecedented scientific and technological progress, humanity has been able to intervene in the development of nature and man (cognitive sciences, bioengineering, etc.). People change the world and nature as they want, but the main problem is that people don't really know what they want. Harari sees the main task of today in the fact that a person should think about the question – what he/she really wants. Thus, Harari's reflections touch on global philosophical problems, which are especially relevant today, and therefore deserve close attention of scientists.