No 9 (2025)

In posing the problem, the author draws on the concept of M. Heidegger. He is interested in the relationship between science, philosophy, and art. An analysis of Heidegger's specific studies in this area shows that they adhere to the principles of the phenomenological approach and methodology, such as the necessity of the "presentation" and "manifestation" of the knowing subject to things or the understanding of the essence of things as "source" and their structure as "work." However, in the author's view, these do not correspond to the established methods of contemporary philosophical research on complex phenomena. In particular, in the author's studies, philosophy, science, art, and technology are not related as they are in the German philosopher to a unified ultimate ontology of being; instead, they are connected by the method of cultural analysis. The origins of ancient science and the understanding of phenomena in natural sciences and humanities are analyzed, followed by the origins of art and Aristotle's "Poetics," historical reconstruction, and the concepts used. As an example of one of the relatively modern views of science and art, the novels of Alexander Bogdanov are considered, in which scientific research and artistic creativity are uniquely intertwined. In certain fragments of the narrative, science and art are not connected at all for Bogdanov. However, when they converge, as in the last scene of the second novel, knowledge (futurology) and artistic imagination work off each other. It is difficult to reconstruct any being that is revealed in these vividly presented providential events. As a scholar and philosopher, Bogdanov analyzes the advantages and disadvantages of distributive economy, outlines the contours of a new science, discusses the features of the psychology of socialist individuals, and examines the clash and coexistence of modern and socialist cultures. In doing so, he creates ideal objects and thinks in accordance with the ideals of science and philosophy of the early 20th century. As an artist, Bogdanov realizes his desires (the construction of socialism), his fears (doubts about workers' readiness for revolution, as well as his role as the party leader), and his experiences of the impossibility of eternal life on Earth. Here, the main tools are imagination, schemes, metaphors, and other expressive means of art from this period.

The article investigates Piet Mondrian's Neoplasticism as a visual philosophy of modernity and analyzes its influence on the formation of a universal artistic language that remains relevant in contemporary visual design practices. The object of the study is Neoplasticism as an integral cultural project of the modern era. The subject of the study is the specificity of Mondrian's artistic language and the mechanisms of adaptation of its principles in architecture, design, and digital interfaces of the 20th–21st centuries. It is shown that Mondrian's artistic system, combining rational calculation with a utopian striving for universal harmony, formed a stable visual code. This code, based on the balance of simplest elements, proved to be an effective tool for organizing visual space far beyond painting. Special attention is paid to comparing Mondrian's approach with other directions of abstract art – Malevich's Suprematism and Kandinsky's expressive abstraction. The work applies a systemic approach, allowing to consider Neoplasticism as an integral phenomenon uniting philosophical foundations, artistic method, and socio-cultural influence. The methodology includes a comparative analysis of works by Mondrian, Malevich, and Kandinsky. The method of interpreting visual forms in a philosophical and cultural context reveals the significance of Neoplasticism's formal elements as symbols of universal categories. The scientific novelty of the research lies in the application of an integrative approach that combines art-historical analysis of the formal elements of Neoplasticism with cultural-philosophical understanding of its socio-transformational potential. Unlike existing studies focusing primarily on artistic aspects, this approach reveals the mechanisms of translation of Mondrian's visual code across different historical epochs – from the theosophical origins of the early 20th century to modern digital design practices. The results and conclusions of the study demonstrate that the principles of Neoplasticism remain relevant in contemporary visual practices, especially: in modular systems in web design (adaptive Material Design grid); in principles of visual hierarchy in UI/UX design; in spatial organization in contemporary architecture and exhibition design. The conducted analysis confirms that the cultural code of Neoplasticism continues to function as an effective tool for organizing the visual environment, offering a model for harmonious information structuring in conditions of digital overload.

The article presents an analysis of the “Kniga likovaniy” by A. L. Volynsky, one of the 20th century’s largest ballet critics, who devoted more than 300 articles to the art of dance, published in the St. Petersburg periodicals of 1911–1925. “Kniga likovaniy” is a philosophical treatise on classical dance, which contains the author's reflections on the connection between ballet and ancient Greek dances, as well as on the essence of ballet steps. Volynsky’ s fundamental work studied in the article was the result of many years of research in the field of ballet art and reflects the main ideas of the author's concept of classical dance. Volynsky developed and improved his future theory of ballet dance for almost 24 years. The key tenets of his theory were outlined in his first article "The Sacrament of Dance", published in the newspaper “Birzhevye Vedomosti” in September 11, 1917. The methodology of the study of the "Kniga likovaniy" was based on historical, biographical, analytical and comparative methods. The critic's unique style, as well as his scientific and philosophical approach to the study of the classical dance’s basics, make Volynsky's “Kniga likovaniy” a unique phenomenon in the field of ballet theory, giving space for reflection to both practicing ballet dancers, teachers, and historians, theorists and philosophers of dance. For modern ballet studies and ballet pedagogy, the "Kniga likovaniy" is also of applied importance, since the vivid metaphors formulated by Volynsky on the topic of classical dance allow the reader to fully imagine the movements of the exersis, and students to better master the exercises during choreography classes.

The object of the study is late medieval sculpture and painting. The subjects of the study are sculptural monuments "transi", figures of the "Prince of this world" and "Frau Welt", engraved tombstone image "brass", compositions of the legend "Three living and three dead" and cycles of "Dances of Death". The purpose of the study is to trace the influence of "transi" sculptures on the images of cadavers in the cycles of "Dances of Death". The radically changed image of tombstones, which evolved from decent images of a model with prayerfully folded hands in the 12th–13th centuries to impulsively curved dead bodies, in a relatively short period of time turns into its planar equivalent, which is part of a string of dead doubles of numerous "Dances of Death". Using the logical and typological methods, the relationship between the "transi" sculptures and the images of the "Dances of Death" is traced. The article touches upon the issue related to the heretical teaching of the Cathars and their concept of the damnation of the flesh, as well as the concept of Purgatory formed in the 13th century. The idea of the ability to experience physical pain in Purgatory is reflected in the sculptures of "transi" and as an echo in the figures of the cadavers of the "Dance of Death". Particular attention is paid to the perception of the ambivalence of the image from sharply repulsive to attractive and the location of monuments closely associated with church architecture as a place of protection. The novelty of the study is a detailed analysis of such factors as the transformation of tombstones of the late Middle Ages, their intersection with religious and philosophical aspects and artistic images that directly influenced the iconography of the "Dance of Death".

The relevance of the research is due to the ignoring of the topic of physicality in design propaedeutics, which makes it impossible to rethink and develop the avant-garde theory of composition in accordance with the requirements of the time. The authors of the article note that the linear logic of composition construction, accepted as a standard in Russian propaedeutics, is rightly criticized today by foreign researchers for reductionism. According to the authors, if the West is dominated by interest in the nonlinear logic of constructing a composition based on the iterative mathematics of fractals, then Eastern designers are looking for their competitive advantage in the international arena, turning to the subtle differentiation of experience and using the rhythm of empty and filled instead of geometric connections of forms. From the point of view of the authors of the study, the "oriental approach" is productive for the development of the designer's bodily sensitivity to form as a result of compositional shaping, and, consequently, in one form or another it can be applied in domestic propaedeutic courses. The purpose of the study is to use the example of specific composition exercises to show the current direction of development of "body-oriented" propaedeutics in design, according to the authors. As tools for developing the designer's bodily sensitivity, the authors consider composing poems containing pauses, since these pauses, on the one hand, give the listener time to perceive the poem with his whole body, and on the other hand, allow him to feel a one–body connection with the world: to feel the connection between things, between people, between things and people. The visual embodiment of pauses is the "excessive" ("dense") empty space between image elements or between material objects, therefore, as propaedeutic exercises, the authors propose to create compositions in which the emphasis is placed on the "movement" of empty space. At the end of the article, the authors turn to the structural basis of the composition, which allows us to consider it as a "force-form", since the composition connects elements with each other using empty space, which allows the viewer to feel the "lines of force" that transform the composition into a single organism. In conclusion, the authors emphasize the importance of "body-oriented" propaedeutics, which allows the designer to rely on a stable foundation without going into reductionism, as well as to see non–obvious relationships between different elements of reality and anticipate the development of emerging situations.