DOI: 10.7256/2454-0757.2023.2.37653

EDN: GJGOIP

Abstract: The article offers a new interpretation of the technique and its evolution. The ideas about the technique of Aristotle, F. Bacon, P. Engelmeir, N.Berdyaev are analyzed, as well as the understanding of nature, on the basis of which the technique is comprehended and conceptualized. The author's hypothesis is that it is necessary to distinguish between two fundamentally different understandings of technology and the lines of its development: one, where technology is understood as engineering and conceptualized within the framework of the first nature, and the other, technology as technology, conceptualized within the framework of the idea of the second nature. In addition, the author shows that in the twentieth century there is a convergence of both lines of technology development, entailing a synthesis of engineering and technology. The atomic project is given as an illustration. On the basis of the proposed ideas, an explanation of the peculiar explosion of the development of technology in the XIX and XX centuries and the emergence of technoprime is outlined. To analyze the features of the second nature, the work of Dmitry Efremenko is considered, who suggests the genesis of megamachines, distinguishing between their two main types and outlining the third. Another component of the second nature is technology, in which, in addition to the sequence of operations and the conditions that ensure them, the author highlights the division of labor, attitudes to economy, standardization and quality of products, research and optimization or restructuring of production activities. In conclusion, the article points out three consequences of the synthesis of engineering and technology, as well as the crisis of technology in modernity: the need to revise ideas about nature, technology and the modern project, as well as the importance of studying the second nature.

DOI: 10.7256/2454-0757.2023.2.39688

EDN: DLVZHA

Abstract: The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing.

DOI: 10.7256/2454-0757.2023.2.39817

EDN: IPVZWM

Abstract: The purpose of this article is to identify the parameters of cyclization, as well as techniques for updating the ancient form and technique of polyphonic writing by modern musical means in a cappella choral music. The subject of the study is the choral creativity of Sergei Ekimov. The object of the research is the study of the architectonics of the cyclic form and the consideration of polyphonic techniques in thirteen five-voice madrigals "From the Rubayat of Omar Khayyam" by S. Ekimov. The musical language of the St. Petersburg master is saturated with semantic concentration, differs in the expression of the utterance. The appeal to ancient polyphonic genres, forms and techniques of writing in S. Ekimov's choral cycles is characterized by an individual approach to solving creative ideas. S. Ekimov embodies the images of Omar Khayyam's poetry in music and forms his own author's concept of the entire cycle. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of musical composition are revealed: the architectonics of the cycle, genre specificity and musical. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. The main conclusion of the research is the paradigm of artistic connections of the Western European polyphonic tradition with the achievements of Russian musical culture through the prism of modern techniques of compositional writing (sonorica, aleatorica). The attention is focused on the need to study the problems associated with the architectonics of modern choral polyphonic a cappella cycles, due to the general artistic and historical potential and the significance of Russian choral music. The novelty of the research lies in the fact that for the first time the polyphonic cycle of choral creativity a cappella by a modern Russian composer is analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of Sergei Ekimov's essay "From the Rubayat of Omar Khayyam", which has not previously been the object of special research, and its introduction into modern scientific usage.

DOI: 10.7256/2454-0757.2023.2.39792

EDN: FVHFXM

Abstract: The formation and development of any architectural form and system has its own historical and cultural background. The ancient Chinese architectural system has a long history and characteristics inseparable from the historical development of Chinese traditional philosophy. Chinese philosophy, as a theory of human self-consciousness, does not give knowledge, but mainly gives ideas and ways of thinking for the needs of human self-development; At the same time, ancient Chinese architecture became a physical object reflecting the idea of traditional Chinese philosophy. Therefore, in order to explore ancient Chinese architecture, it is necessary to analyze and study it from the point of view of traditional Chinese philosophy. Like Confucius' thoughts on etiquette, the idea of the "doctrine of the middle" and the concept of hierarchical division; These ideas had a profound influence on ancient Chinese architecture, including urban planning, traditional dwellings, the environment, Lao Tzu's desire for harmony and unity between man and nature, worship of the gods, etc., as well as the theory that emerged later "Feng Shui", etc. temple space and garden architecture in the south of the Yangtze River. This article is devoted to the analysis of the influence of Confucianism and Taoism on the general principle of designing spaces of ancient Chinese architecture. The article selects some typical examples of ancient Chinese architecture for analysis. The following principles are manifested in the design of spaces of Chinese architecture under the influence of Confucianism and Taoism: moderation of living space; the principle of symmetry, balance and coordination; architectural hierarchy formed on the basis of the needs of "rituals"; integration of architecture and the environment; design of spaces according to "Feng Shui".

DOI: 10.7256/2454-0757.2023.2.39819

EDN: IXFHBB

Abstract: The subject of this study is the special theory of relativity (SRT) by A. Einstein, the debate about which has been going on for more than a hundred years. The aim of the study is to evaluate SRT from the side of whether everything that is discussed in this theory and thus in the new, relativistic physics is possible in nature itself. At the same time, the author pays special attention to three issues: the principle of relativity, the necessary condition for the objectivity of the content of scientific theories and the Einstein style of scientific thinking, which predetermined the ideological component of SRT and all relativistic physics. But such issues as relativistic reductions of lengths and durations, the relativity of simultaneity and a single space-time do not remain without attention. The study revealed the fallacy of a long-standing and widespread opinion about the relativity of properties. The necessary condition for the objectivity of scientific theories is revealed. The natural form of expression of quantities is revealed and the non-relative nature of all natural quantities is shown. The hidden form of relativity inherent in the SRT postulate about the constancy of the speed of light in all inertial reference frames and extended in SRT to the magnitude of all lengths and durations considered in it is revealed. It is shown that such relativity is based on the dependence of the quantities on the choice of their reflection systems. It is shown that such dependence is impossible in nature itself. It is concluded that the SRT is erroneous. At the same time, the factors that served as favorable ground for the emergence and spread of this erroneous theory are listed.

DOI: 10.7256/2454-0757.2023.2.37992

EDN: EBCNOG

Abstract: The object of the study is atheism and theism as important ideological components of two opposing solutions to the "main question of philosophy" – materialism and idealism – forming two systems of human life navigation. The subject of the study is two ideological paradigms – Soviet atheism and Orthodox Christianity. Materialism and atheism are the fundamental elements of the Marxist doctrine underlying the philosophy and culture of the Soviet period of Russian history, opposing theism, creationism and providentialism of the Christian understanding of the world and man, characteristic of the ideological paradigm of pre–revolutionary Russia. The purpose of the study is to clarify and substantiate the ideological intersection of these seemingly incompatible ideological positions. One of the objectives of the study is to substantiate their vertical semantic and value orientation. The novelty of the research, in particular, lies in the substantiation of the statement that two incompatible ideological poles represent varieties of the classical philosophical tradition with its vertical value-semantic orientation, and together oppose the main orientation of non-classical philosophy based on a horizontal scale of meanings and values. One of the main conclusions is that the vertical of Soviet materialism and atheism is a paradox and at the same time its tragedy: surprisingly, due to the vertical orientation of Soviet culture – formally atheistic – it is actually permeated with religious intuitions, questions, problems, ideas and plots disguised as secular concepts and terms, which finds its manifestation in various works of Soviet artistic culture.

DOI: 10.7256/2454-0757.2023.2.39345

EDN: GVOOFX

Abstract: The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art.

DOI: 10.7256/2454-0757.2023.2.39014

EDN: HWUOKS

Abstract: This review examines the main problems of the XX International Likhachev Scientific Readings held in June 2022 at the St. Petersburg Humanitarian University of Trade Unions. The readings took place after a two-year break and their problems shifted from the traditional question of the dialogue of cultures to the question of modern conflict tension in the world. Within the framework of the Readings, a number of breakout sessions were held on various aspects of humanitarian knowledge in the context of the current political situation. The subject of the study is the discussion held during the plenary session, as well as the topic of the section, in which ethical and cultural issues were analyzed. The author of the review paid special attention to the opinions expressed by foreign participants of the conference regarding the conflict situation in the world and their assumptions about the ways to resolve it. The general idea of these reports is the idea of a desirable political multipolarity of the global space and criticism of changes in the structure of understanding of liberal values in the modern Western world. The topics of the reports of domestic researchers, humanities scientists dealing with these value transformations were also described. The author made critical remarks about the general tone of the discussion and the conclusions drawn by the speakers, since, criticizing the Western "cancellation culture", the participants mostly tended to the idea of a mirror response - and thus also to the idea of "cancellation", which makes this answer indistinguishable from what he criticizes, and only contributing to the escalation of tension.