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Publications of Demenev Denis Nikolaevich
Philosophical Thought, 2020-3
Demenev D.N. - Artistic will as the ontological basis of art pp. 10-24


Abstract: The subject of this research is the artistic will as the ontological basis of art. In the process of comprehension of the nature of art as on object of research, emerges the problem of identification and determination of the ontological will with regards to arts as a fundamental factor in “conception” of an artful work. The will is an ontological link in the chain “author – willful acts – creative process – artwork”, which allows the latter to manifest from nothingness. This leads to understanding of the “relative mechanism of conception” of an artwork, which comprises the goal of the research. The scientific novelty consists in the thesis that two types of will coexist at the current stage of the development of art: will of a modern artist and artistic will (will to beauty). Due to the fact that the will of a modern artist doesn’t always shift him towards aesthetization of the environment, whole the artistic will is particularly aimed at aesthetization of the phenomena of surrounding reality, the author underlines the crucial difference between the two wills. The conclusion is made that the “artistic will” as an aestheticizing will or the will to beauty is the ontological basis of art.
Philosophy and Culture, 2017-12
Demenev D.N. - On the logics of creative process pp. 72-82


Abstract: The subject of this research is the logic of creative process. The author analyzes the logics of correlation of micro and macro levels of the creative process: 1) logics of formation of the creative image (or poetization) of global events; 2) logic of structuring (composition) of creative work. Having established in a definitive way, although in a shape of “certain haziness”, the creative image in all its essence dictates or subconsciously pushes towards choosing one or another creative methods. In the course of structuring creative process, the author was guided by the idea of dialectical correlation between the content and form. The elements of complex approach, principle of historicism, methods of analysis and synthesis, generalization, system and sociocultural approaches comprised the methodology of this research. The scientific novelty consists in introduction of the concept of “aesthetic logics” – as the logics of aesthetic activity of an artist, expressed in the interrelation of form and content of his oeuvre that reveals itself through the factor of time. Such logics vary depending on the variation of the creative process itself.
Philosophy and Culture, 2016-4
Demenev D.N. - On the logic of color in painting: ontological, gnoseological, and axiological aspects


Abstract: Thus article represents the experience of philosophical heritage, the goal of which is the multilevel comprehensive research of the color harmony. The main question reviewed in this work is the logic of color in art of painting from the ontological, gnoseological, and axiological aspects. The author begins with the examination of the general notions, such as structure, hierarchy, and order; and later, shifts towards the narrow-profile questions associated with color harmony and logic of color in painting, as well as explains the necessity of presence of the three of its main aspects. During the course of this research, the author comes to the following results:The ontological aspect of the logic of color is predominantly observed in the triune system that includes the three-component theory, the emerging from the latter principle of color balance,  which is in turn based on the three main colors: blue, red, and yellow;The gnoseological aspect of the logic of color consists mainly in the contextuality of the author’s concept, in the idea of its composition.The author concludes that in the creative process pertaining to the work with color, everything has importance: shape of a spot, its size and texture, intervals, background, etc., because the logic of structuring of the color harmony directly depends on the idea of composition, and the conceptual value of the substratum.  
Philosophy and Culture, 2016-3
Demenev D.N. - About a taste problem in art


Abstract: The main subject of this research are taste judgments in the visual arts. Several centuries ago, German philosopher Immanuel Kant formulated his famous antinomy of taste. According to the author they remain relevant to this day. Contradictions between the public and professional and artistic (personal) preferences, the author examines how the struggle between two authoritarian systems: from the perspective of a viewer (customer) and from the perspective of the Author. The author of this study believes that it is absolutely free from any conditions the artist was at the dawn of the art in primitive society. Removing the taste of the contradictions in contemporary artistic practice, in the opinion of the author of the study, through an "action conventions". Methodological base of research is the method of the structurally functional analysis; dialectical method; a method of intellectual speculation, as well as General scientific (General logical) methods: analysis, synthesis, induction, deduction, analogy. The study's author comes to the following conclusions:1. The great assumption of I. Kant about the social background of the antinomies, remains relevant today.2. A century later, from early modernist experiments, in the synthesis of the aforementioned constructs, the modern visual art comes to the measure of conditionality. The concept of "measure of conditionality" is a a so-called aurea mediocritas (Latin) – the "Golden mean" and gives a key to the synthesis of these and other opposites.
Philosophical Thought, 2014-9
Demenev D.N. - Some Aspects of the Dialectic Process of Creating an Art Painting pp. 150-185


Abstract: As to consider all dialectics of art as process in works of similar volume it is impossible in principle, the author, in the research, allocates only some aspects of a dialektichnost of art creativity, on the example of creation of a work of painting. In the first section, the author considers dialectics of art as result of interaction of various polar forces, systems, the phenomena. In the second section, art creativity as the developing process in which basis such law of dialectics as "transition of quantity to quality" lies is investigated. In the third section, the author argues on dialectics directly of a work of art as about complete, integrated, ideal and material education where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is it is especially evident. The third section is devoted to dialectics sensual and rational, as one of characteristic features of the dual nature of the artist. Methodological base of research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. The research of these aspects conducted by the author allowed it to draw the following conclusions:In continuously moving, changeable formation of "fabric" of a work of painting, process of its development as continuous emergence something essentially new and irreversible in it is objectively realized.Each subsequent stage of development of the artist as the realizing individual, finds for him, hidden and invisible before, but now acquired, and from that the steps of his ascension becoming invaluable and, together with them, fixed "levels" of the untwisted spiral of his creativity. The work of art is a complete, integrated, ideal and material formation where spiritual (outlook of the artist) has an opportunity to prove through material (through picture form and content), that is is especially evident (by means of artistic images). As a result, it is necessary to record, characteristic for art process, the fact of transformation (transition) of conscious world outlook installation (idea of the life) through energy of the creative act – in an art product, in its form and its contents.Data of sensual level is an important initial material in which the artist receives information for the subsequent artly - creative processing. This initial, sensual and emotional material, as a result of rational activity is acquired and entirely appropriated by reason, forming the sensual and rational base for process of creation of a work of painting.It is necessary to state, as the creator, both the process of creation and the result are the dialectics of art creativity. 
Philosophical Thought, 2014-8
Demenev D.N. - Interaction Between 'Taste', 'Measure' and 'Harmony' in Artwork pp. 109-139


Abstract: The main question considered in article is the question of interaction in works of painting of three structural components: taste, measure and harmony. Building structure of a work of art on the basis of this triad, the author proves that art taste is not simply esthetic category, but such active structural component of art creativity which, being inherent initially in its carrier artist, subsequently finds itself in the finished work of art. This structural component, along with "measure" and "harmony" is, according to the author, one of the main (main) form-building structural components of a work of art. At the end of research, the author unexpectedly comes to a conclusion about similarity of a functional purpose of a measure and taste, but parts these categories by identification of the nature of their functioning.Methodological base of this research is the method of the structurally functional analysis; dialectic method; method of a germenevtichesky reduction; method of intellectual speculation, and also general scientific (general-logical) methods: analysis, synthesis, induction, deduction, analogy, modeling. As a result of the conducted research, the author comes to the following conclusions: 1. The great guess of I. Kant about social background of antinomy, remains an actual problem and today. 2. In art and creative process, the artist, creating a work of art, deals not with judgments of taste, and with an embodiment of the flavoring judgments in a work of art. And the conclusions about the acceptability and applicability of this or that flavoring preference (i.e. judgments) for concrete work separately, are taken out by reason of the artist.3. The unity of a work of art, is approved by a triad: first of all – a sozdannost of a work of art, then presentation and an oshchushchayemost. This triad which is esthetic installation of the author, in turn, reveals through the following triad - a triad of structural characteristics of a work of art: measure, harmony, taste.4. The measure and taste, is more subjective structural components whereas harmony, having been born as a result of merge of the first of two, is objective education.5. As a result of existence at art of function not only esthetic, but also psychological, substantial, communicative and, is wider – world outlook – disharmony as an art composition method, is quite proved to put perhaps in one row with harmony. 6. The measure will be necessary until original, that is creative works of painting which, in turn, will depend on novelty of a context are created.
Philosophical Thought, 2013-11
Demenev D.N. - Rational Element as One of the Most Important Ontological Grounds of the Creative Process pp. 1-49


Abstract: The article is devoted to the question about the rational part of the creative process and its relation to the sensual element. Describing the structure of art process as starting from the sensual level, the author proves the need in rational grounds of art, too. Concrete thinking and abstract thinking of an artist create such grounds. These cogitation patterns exist in the creative process and often transform from one to another. These patterns lie in the basis of the outcome of art process. The result of any creative process of an artist is either images resembling (reflecting) something or true art images created based on a certain degree of abstraction. The former images are easy to understand so they satisfy tastes of the majority of people and the latter images are not so comprehensive  and therefore are not always understood by the audience. The author of the present article tries to answer the question about what makes such 'ununderstandable' artwork to be created? At the end of the article the author makes a conclusino that being one of the most important ontological grounds of the creative process, the rational element is interchangeable with the sensual element and creates grounds for formation of the third stage of the creative process, i.e. life experience of the artist himself.  
Philosophy and Culture, 2011-5
Demenev D.N. -
Philosophy and Culture, 2011-1
Demenev D.N. -
Philosophy and Culture, 2010-12
Demenev D.N. -
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