INTERNATIONAL JOURNAL OF CULTURAL RESEARCH

Svetlana LAVROVA

Vaganova Ballet Academy, St. Petersburg, Russia
Doctor of Science (in Art Studies), Vice-Rector for Research and Development

The Entropy of Absence and Harmony of Noise in Peter Ablinger's Creative Concept

The article is devoted to new technologies, which have been actively developed in the music of post-serialism in close interaction with the art of the New Media. In the center of analysis is the work of the composer Peter Ablinger and his innovative ideas. The relationship between noise and cultivated sound, differentiated silence and white noise is analyzed. The basis of P. Abinger's creative method is the interaction of various noises with spatial structure, spectral modeling / transcription and with the perception of sound itself. The conclusion from the conducted research is the appeal of the modern composer to the individual listening experience, where art gives rise to the interaction of sound and recipient.

Key words: new media art, post-serialism music, Peter Ablinger, white noise, phonorealism, sound-art.

References

Leonid MENSHIKOV

Saint-Petersburg State Rimsky-Korsakov Conservatory, St. Petersburg, Russia
Head of the Humanities Department, Ph.D. in Philosophy, Associate Professor

The Birth of Event from the Spirit of Anti-Music

The many forms of action art have appeared in the practices of the post-war avant-garde. The event as the reproducing household action genre becomes the first of them. In this article the sources of this genre in the work of the John Cage's class (which took place in the New York New School for Social Research) participants are traced. The connection of modern music composition with emergence of a sound and verbal events reveals. The rehearsals of two genre founders, which were the composer La Monte Young and the artist George Brecht, from anti-music (as reconstruction of sounds of the world around) to an event (as reconstruction of the event causing these sounds on the stage) are described. The conclusions about communication of the event emergence and anti-music are drawn on the basis of theoretical analysis in performative forms of art activity.

Key words: event, neodada, anti-music, La Monte Young, George Brecht, action art, score, instruction.

References

Valery DIDENKO

State University of Management, Moscow, Russia
Department of Philosophy, Doctor of Science (in Philosophy), Professor

Vitaly KALITZKY

Russian State Specialized Academy of Arts, Moscow, Russia
Department of Instrumental Performance, Professor, Ph.D. in Philosophy

The Deconstruction of the Idea of Absolute Music

Music has always been for philosophical reflection a kind of mystery, which forced philosophers to seek a non-trivial conceptual decisions regarding the understanding of the essence of music. Perhaps, none of the outstanding philosophers could not resist the temptation to make music a subject of philosophical statements. However, the philosophy of music has not acquired forms of systemic theory and today the expression «philosophy of music” remains quite controversial. The article defines historiosophic motifs in the conceptual structure of the new hermeneutics. The main task is the study of musical hermeneutics, which allows the disclosure of the artistic image, which is possible under condition of full approval endless performing funds with the content of the work, its architectonic composition, that is the real organized sound material, which the artist must perceive and process. Under the influence of postmodern aesthetics there are such transformation of contemporary culture such as uncertainty and relativism, embodied in the pluralism and eclecticism and orientation towards multipolarity and portocannone, creativity becomes a game, real and unreal in human consciousness lose their clear contours.

Key words: absolute music, philosophy, aesthetics, creativity, contemporary culture, avant-garde, postmodern, composer, performer, recipient, bricolage, bricoler.

References

Elena DROBYSHEVA

Vaganova Ballet Academy, St. Petersburg, Russia
Department of Philosophy, History and Theory of the Arts
Doctor of Science (in Philosophy), Professor

Music in the Pocket: Privatization of Arts as a Trends of Contemporaneity

Using the concept of «mobile privatization», developed by representatives of the British School of Cultural Studies, such as R. Williams and D. Hesmondhalgh, to describe the actual state of culture, author analyzes the further development of this trend using the example of the «privatization of art». The focus is on the analysis of the modern transformations of the axiosphere, related to the development of technology and the corresponding to actualization of the problem of the ecologization of public life in general and of art in particular.

Key words: axiology of art, ecology of art, «mobile privatization», privatization of art, craft culture.

References

Anna AMRAKHOVA

Nizhny Novgorod State Glinka Conservatoire, Nizhny Novgorod, Russia
Doctor of Science (in Art Studies), Associate Professor of the Department of Music Theory

How is the Musical Form without Music Possible?

In this article the structure as a «cognitive model» is considered that allows to interpret a number of aesthetic phenomena in the music of the end of the 20th and the beginning of the 21st centuries. The notion of «a figure» is introduced by Salvatore Sciarrino, which tends to determine the structure of a piece of music as an image-schema or a semantic predicate, might exemplify such structure-making phenomena.

Key words: musical structure and musical form, cognitive model, image-schema, semantic predicate, S. Sciarrino.

References

Tatiana TSAREGRADSKAYA

Gnessin Russian Academy of Music, Moscow, Russia
Professor of the Department of Analytical Musicology, Doctor of Science (in Art Studies)

Tristan Murail. "Le Lake" (Le Lac) for the Ensemble (2001): Analytical Study

The article is devoted to the analysis of Tristan Murail’s piece “Le Lac” written during his stay in the United States of America. The author’s remarks became the starting point of the analysis of music material and compositional approaches which became the object of detailed interpretation. Such notions as “musical object”, filtration and enrichment as well as maquetting which appeared as a result of Openspace program became the objects of analytical interpretation. The composer develops his mastery of the composition in the course of evolution of compositional technique, the steps of which are described briefly.

Key words: Murail, Le Lac, compositional technique, musical object, Openmusic.

References

Galina ZHUKOVA

St. Petersburg State University, Russia
Faculty of Arts, Department of Organ, Harpsichord and Carillon
Associate Professor, Ph.D. in Philosophy

Funny Science vs Awesome Wisdom: About the Human Measurement Of Musical Space

The article deals with some contemporary ways of understanding and consuming the space of music. Various cognitive handicaps and distortions originated from an interference of neurobiological and aesthetic components, which can be found in the process of study of music thinking and music perception, have been analyzed. The main attention is paid to the anthropological and cultural dimension of the music discourse. The concept of timbre is treated as a link between the subjective and objective components of the music production and music perception. The necessity of both development and verification of theories of music perception has been substantiated. The author argues that such theories can be elaborated by inter-disciplinary collaborations which include professional musicians with a rich stage experience.

Key words: perception of music, psycho-acoustics, music space, timbre, sound extraction.

References

Anna STOYANOVA

Gnessin Russian Academy of Music, Moscow, Russia
Lecturer, Ph.D. in Art Studies

Оutside-Time Structure and Inside-Time Structure of Analogique B (From the Mixed Composition Analogique A & B by I. Xenakis)

The article is devoted for one of the first experiment of Iannis Xenakis in mixed composition Analogique A & B (1959) for strings and tape. It considers as the Оutside-time structure (the term of the composer) of the work, in other words the pre-compositional stage. It is the same for «analog» and «electroni» works. Its basis is in the compositional mechanism which depends on three variables (frequency, intensities and density) and with eight screens. Screens are possible variants of those variables interaction. Article contains revised screens of the Analogique B for a simple visual perception. This approach simplifies foreseeing sound result. Inside- time structure of Analogique B (record 1959) is analyzed by using sonogram method. Analyze was made with the aid of the SPAX program. There are a lot of discrepancies after correlating the formalized prescriptions of Оutside-time structure with sonograms. We can conclude that the Inside-time structure diverges from formalized mechanism of Оutside-time structure.

Key words: I. Xenakis, Analogique A & B, оutside-time structure, inside-time structure, electroacoustic music, analysis оf electroacoustic music, sonogram, Markovian stochastic music, mixed composition, SPAX.

References

Vladislav PETROV

Astrakhan State Conservatory, Russia
Associate Professor of the Department of Theory and History of Music, Doctor of Science (in Art Studies)

Sound and Theatrical Beginning in the Instrumental Performances of Victor Ekimovsky

The article is devoted to the examination of instrumental compositions by the contemporary Moscow composer Viktor Yekimovsky, that are involved in the synthesis of the arts, which have as their basis a combination of musical and theatrical series. The classification of the instrumental performances of the composer according to the type of relation to sound is presented: 1) with a low level of events, 2) with a high level of events. It is noted that the dramatization influences in a significant way are not only the drama of the work, transforming the instrumental composition into a performance, but also the stage of realization of the opus, in which not only music (sound) but also the visual aspect is important – the movements of the instrumentalists, their dispositions, the word (Voice), props, light and color, additional sources of noise. The works «In the constellation Canes Dogs», «Dictionary of unprintable expressions», «Initiations», «The Princess has pricked a finger – and the whole kingdom has fallen asleep ...», «Balletto», «The Specter of the Theater» are analyzed.

Key words: performance, instrumental theater, Victor Ekimovsky, sound and theatricalization, postmodernism, scenic events.

References

Oleg GUDACHEV

Vaganova Ballet Academy, St. Petersburg, Russia
Postgraduate

History of the Formation of Spatial Music: from the Beginning to the middle of the XX century

The article is devoted to the history of the formation of spatial music: from the birth of this idea in the music of the Renaissance, the further development of this idea in the principles of antiphonal singing, in the experiments of the first half of the twentieth century, to the music of the 1950s of the twentieth century. The examples given in the article reflect a vivid historical picture of the development and formation of ideas for the organization of sound space. In the article the author comes to the conclusion that the 1950s for spatial music represent only the first stage of its development, while the most intensive process of transforming ideas about sound space and multi-channel perception of sound streams by the listener will occur at the beginning of the XXI century.

Key words: spatial music, Antiphons, Ives, Stockhausen, Schaeffer, concrete music, electronic music.

References

Iana PARKHOMENKO

Academy of Media Industry, Moscow, Russia
Department of Screen Arts, Associate Professor, Ph. D. in Art Studies

Anatoliy LUGOVTSEV

Academy of Media Industry, Moscow, Russia
Department of Screen Arts, Postgraduate

The Sonic Aspect of the Design of Fiction Objects in Convergent 3D Animation, Films and Interactive Environments

The article highlights the problem of sound design as an integral part of object design, emphasizing the intersection of visual, sonic and dramatic elements in the design of unreal objects.
The article deals with the actual problems of materialization of audiovisual images of fantastic objects in the fictional space of the film and the interactive media product. In the process of convergence of screen based arts under the influence of 3D animation and synthesized digital sound emphasizes the similarity of production aspects of audiovisual content items of media products with the principles of discrete formation of virtual reality content.
The problem of visual and audio manifestations of the object design in screen arts is considered on the basis of a phenomenological approach to the aesthetics of digital media. The object of research is the sonic aspect of the design of fictional objects in media artworks of a fantastic genre, science-fiction films and interactive environments of virtual reality. Particular attention is paid to such specific effects of sound on the image, as sound zooming, acousmatic demonstration, audiovisual counterpoint, audiovisual dissonance, object animation, semantic decoding and interpretation. The issue of creating an adaptive sound image by means of procedural audio to provide scenario manifestations of objects in interactive environments is touched upon. The identification of interaction of the design principles of virtual development of sound and visual images in audiovisual manifestation of fictional objects, as well as comprehension of specifics of project activity for audiovisual elements of works of convergent screen art and interactive environments became results of a research.

Key words: sound design, audiovisual representation, object design, fictional object, digital character animation, virtual space, media convergence, 3D animation, procedural audio, sound zooming, cinema, screen based arts, theremin, interactive environment, computer graphics.

References

Diana BERESTOVSKAYA

Taurida Academy, V. I. Vernadsky Crimean Federal University, Simferopol
Head of the Chair of Culturology, Professor, Doctor of Science (in Philosophy)

Intertextuality as the Principle of Formation of the Figurative Art System of the Silver Age in Russian Culture

In the article the problem of the specifics of the art of the Silver age in Russian culture has been put. The author considers the synthetical character and symbolization as distinctive features of the principles of formation of the figurative system of this period which found expression in the theoretical treatises (A. Potebnya, A. Losev), in P. Florensky's reflections and others.
Being guided by the provision of Yu. Lotman about the «textomorfnostc» of the culture the author of the article analyzes verbal, visual and audio texts in the formation of artistic figurative systems of the leading figures of that era. It is Malevich's painting «Black Square», the poem of A. Blok «The Twelve», the treatise by V. Kandinsky «On the Spiritual In Art», thoughts of the authors about the originality of a form and color in their creativity.
The analysis of early prose of S.N. Sergeyev-Tsensky from theposition of the intertextuality which is carried out for the first time is of undoubted interest: «Movements», «Diphtheria», «Beregovoye» and others.
The author of the article addresses also to the text of the French thinker of the XIX century F. Portal which became a basis of the concept of P. Florensky: «At thought watersheds», «The pillar and Ground Of the Truth» and others. The comparison of the symbolical value of colors in theoretical works of P. Florensky and the artistic figurative system of early prose of S.N. Sergeyev-Tsenskyin the 1910th has been given.

Key words: intertextuality, verbal, visual and audio texts, symbolics of color, synthetical character, symbolism of the figurative system, the Silver age.

References

Andrey CHUKUROV

Herzen State Pedagogical University, St.Petersburg, Russia
Associate Professor, Ph.D. in Cultural Studies

Dissociative Identity Disorder (D.I.D) as Cultural and Artistic Phenomenon

We analyze the dissociative identity disorder (D.I.D) as a cultural phenomenon in this article. The permanent identity is actually impossible in an unstable information society. The person, defending itself against the socio-cultural environment pressure, develops adaptive mechanisms, reformatting his own identity depending on the assessment of threats and his own sense of life. Some mechanisms of self-defense work completely without the participation of a person, being incorporated into it. As a result of their intervention, we can face the simultaneous deconstruction of identity and the formation of a new identities within a single "host body". Considering the phenomenon of dissociative identity disorder, particular attention is paid to the representation of this phenomenon in art. We conclude that due to the introduction of the dissociative identity disorder into the text, art is constantly enriched with a new conflict situations and characters from the XIX century. We also point out the specific features of representation and the reasons for the author appeals to D.I.D.

Key words: culture, dissociative identity disorder, schizophrenia, personality, identity, art, literature, cinema.

References

Konstantin OCHERETYANY

St. Petersburg State University, Russia
Centre for Mediaphilosophy, Scientific Secretary, Ph.D. in Philosophy

Vampire Words, Energy Images and the Sophia Body: Media Understanding in Russian Philosophy

Russian philosophical thought, by virtue of the closeness to the Eastern Christian tradition, is also bind with the ancient and medieval understanding of reality as a reason symbolically open to man and awaiting acceptance from man through the soul-body transformation. Since the media is an actual format for contemplation, comprehension and experience, the article attempts to apply to the media-reality analytic the concepts that was formed in the tradition of Russian religious philosophy, for which cognition is a mystical fact.

Key words: vampire-words, image, energy, sophia, corporeality, media reality.

References