Vol 4, No 2 (2023)

Silence is researched by the author in a cultural philosophical perspective as part of the sound code of culture, an independent self-contained phenomenon that intersects but does not coincide with other forms of sound code (verbal and musical). The polyfunctionality of sound code is revealed in the unity of meaning and sound, as well as in the integration of the human voice into a specific culture as a whole. The silence is both the point and the boundary of the interaction of the world and man. On the one hand, it is a characteristic of existence, on the other – a symbol of the man’s presence in it who is able to perceive and experience silence.The specificity of the phenomenon of silence lies in the fact that this part of the sound code of culture can create and develop its semantic code, thus opening to the man an opportunity not only for perception, but also for translation of existence.

In today’s world, we are witnessing unprecedented changes in gender issues. Against this background, a question arises about the degree of such transformations in youth subcultures. This article discusses the youth subculture of graffiti, the iconic feature of which is masculinity. The results of the study show that the biological gender of a graffiti artist is increasingly less affecting the assessment of the quality of the work, which allows girls to enter the public field of graffiti. Yet, masculinity remains, for this subculture, the basis of identity.

Performances by Anatoly Proudin, staged at the Samara Theater of Young Spectators SamArt in the 2000s – 2020s, are based on the texts of classical works – plays by W. Shakespeare, A.N. Ostrovsky, A.P. Chekhov, prose by L.N. Tolstoy, A.P. Chekhov, I.A. Bunin. Different authors, texts of different eras, undoubtedly require different approaches to creating their stage versions. However, with all the differences, the performances of Anatoly Proudin have much in common in the use of staged techniques, in the iconic system characteristic of his direction. A detailed analysis of the performances presented in this study allows us to identify the originality of Proudin’s directorial strategy and formulate the concept of his work, which is the purpose of this work.

The creative uniqueness of the musician’s personality is revealed in the space of dialogue in the process of musical co-creation. Dialogic connections between participants, formed at different levels of interactive informative and existential interaction, have an extremely wide and penetrating range of influence. The article analyzes the features of dialogic connections and their dependence on the levels and nature of the flow of co-creative polylogue in musical communication using practical examples.

The article reveals the possibilities of culturological research of the problems in documentation-communucative sciences in accord to two directions: related to object and related to aspect. The study provides examples of cultural interpretations of a number of basic concepts. The peculiarities of culturological method and essential foundations of bibliographical culture, book culture, information culture and media culture are disclosed.

One of the current tools for presenting personal identity within the framework of the process, which in scientific discourse is called «visual turn», is a photo session. The article gives a detailed analysis of the “photo identity” concept, defined by the authors as a method and result of visual expression of a person who simulates a constant image of himself in the format of a technical recording of an image. Key characteristics of the photo session are described; universal and unique manifestations of photoidenticity are defined. Particular attention is paid to the consideration of photoidenticity in the memorial narrative, where it manifests itself as a ratio of memory of a place and places of memory.

The work of a graphic artist, scenographer, designer, teacher and thinker Julian Nikolaevich Markarov (1943-2021) is imbued with philosophical contemplation, reflection on the eventuality of what is happening, on the path of a person and the road that one chooses. His heroes were people who kept pace with the times and who went against everything, sophisticated and tempted by art. Almost no one has ever written about the artist. All information about Yu.N. Markarov’s biography and creative work is to be found in Internet sources unknown for a wide range of art critics. This article strives to correct this injustice.