Ayn Rand projected her experiences in Russia onto an American canvas. The collapse of the economy described in Atlas Shrugged actually happened in Russia between 1916 and 1921. The economic and political policies of the government in the novel resemble those of the Bolsheviks in the first decade of their rule. The protagonists of Atlas Shrugged reject Russian values and ideals, especially the mystique of suffering and self-sacrifice. The subtext of The Fountainhead is the intellectual and cultural milieu of (...) the 1920s, the paradigmatic role of architecture, and the spiritual collectivism of prominent Christian opponents of "materialistic" Bolshevism. (shrink)

Over the past decades, due to the course towards digitalization of all areas of life, interest in modeling and creating intelligent systems has increased significantly. However, there are now a stagnation in the industry, a lack of attention to analog and bionic approaches as alternatives to digital, numerous speculations on “neuro” issues for commercial and other purposes, and an increase in social and environmental risks. The article provides an overview of the development of artificial intelligence (AI) conceptions toward increasing the (...) human likeness of machines: from the key ideas of A. Turing and J. von Neumann, who initiated the digitalization of society, to discussions about the definition of AI and the emergence of conceptions of strong and weak AI. Special attention is paid to the approach of A. Sloman, to ideas about the architecture and design of complex artificial systems are considered, which make it possible to “emotionally” expand the idea of weak/strong AI. In the article's section on the necessity and possibility of incorporating emotions into the architecture of AI, the authors reveal the goals and methodological limitations for creating an emotional artificial agent. In addition, the article briefly presents the main principles of the authors' architectural approach to the creation of emotional intellectual systems on the example of the cognitive-affective model of architecture, which allow modeling the impact of emotions on the cognitive processes involved in decision-making processes. The described architectural approach to modeling intelligent systems can be used as a conceptual basis for discussing and formulating a strategy for the development of neurocomputing, philosophy of artificial intelligence, and experimental philosophy, for developing innovative research programs, formulating and solving theoretical and methodological problems. (shrink)

The article is devoted to almost unknown monastery of the Russian Orthodox Church, a Holy Trinity Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia that was one of the important pilgrimage places of the royal family in the 17th century. Despite the fact that the monastery was founded in the reign of Tsar Alexei Mikhailovich, it is an important link in the historical and cultural development of our Fatherland, primarily because the extant architectural monuments of outstanding artistic qualities. That is why the architectural (...) ensemble of the monastery occupies a prominent place in the history of Russian culture. In addition, Novo-Solovetskaya poustinia is an important historical object providing data on the development of Russian spiritual and artistic culture of the late seventeenth century. The question of cultural-historical and social roles that Orthodox monasteries played in the history of Russia is still not sufficiently studied is. The modern development of the Russian state cannot be complete without the restoration of the positive legacy that has been lost in our culture and morality. In this regard, the study of development and formation of the Orthodox monastic culture may fill this gap. Historical development of the Zosimo-Savvatievskaya Novo-Solovetskaya Krasnokholmskaya poustinia, its architecture can contribute to the restoration of our historical memory, which is an important factor in the revival of our national identity. The author of the article also tells about the history of monastery in tough years of godless power and about the people, who died for their faith and who are called now the new martyrs. (shrink)

The difficulty of the task that the authors of this book have posed themselves is due in the first instance to the fact that this period has been very little studied in the history of philosophy. In applying the term "early Russian philosophy" to the set of ideas, images, and conceptions of a philosophical order contained in the cultural texts of the tenth through the seventeenth centuries, M.N. Gromov and N.S. Kozlov see it not simply as a specific stage (...) in the development of Russian philosophy but as a "very particular phenomenon that is qualitatively unique and requires special study" . Thus the authors declare their own position in the far from finished debate about the specificity of Russian philosophy and the distinctive features of its historical development. They rely not only on the vast treasury of early Russian texts that have come down to us but also on the scholarship of historians of literature, language, painting, architecture, folklore, and other areas of culture. Of course, the book also gives careful consideration to the few studies that have been devoted to the historical-philosophical analysis of early Russian culture, from the works of the Archimandrite Gavriil to the most recent works by Soviet and foreign authors published in decades just past. (shrink)

Bath structures, which emerged as a result of the importance given to washing since ancient times and which mean "place to wash", provided continuity with the style created in the Roman and Byzantine periods. Turkish baths, shaped on the bath tradition of the Roman and Byzantine periods, gain a unique form in time, especially after the adoption of Islam. It is seen that with the differences with the beliefs and behaviours brought by Islam the important changes in the structure of (...) the Turkish baths emerged with the new arrangements made of the plan typology in the Ottoman period. In addition, some another various functions are attributed to these structures in the Ottoman Empire and baths are generally built for income. After the Ottoman-Russian war between 1828-1829, the "Turkish Bath" built by the Russian Tsar Nicholas as a message for his own political purposes carries traces of the aforementioned Ottoman baths. The Turkish bath, which the tsar ordered to be built in the park of Ekaterinburg, becomes a product of the project on which the important Russian architect Monigetti meticulously emphasized. Although the structure in question differs from the Ottoman bath formation, it has similar features in terms of function and decoration details. However, the external appearance of the work, which is the subject of our study, with the form of the minaret next to it, resembles the Turkish Mosque architecture. In terms of decorative features, an oriental arabesque style of decoration dominates the building. As a matter of fact, our aim in this study is to first explain the characteristics of a Turkish structure built in Russian and completely from a Russian point of view, and then reveal the similarities and differences between both the two constructions. (shrink)

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". (shrink)

This article attempts to develop a theoretical approach to exploration of the environment, of intra-environmental information processes and mutually determinative relationships, and mode of being. Relying on the theoretical postulates of Gregory Bateson, the information theory of Claude Shannon, the concept of predictive processing, and Nikolai Ladovsky’s principle of economy of perception in architecture, the author seeks to show that the environment can act as an alternative mode to the subject for organizing experience. This interpretation of the concept of environment (...) can serve as a foundation for constructing an optics of inquiry that is not human-centric but at the same time could remain an optics of human inquiry. (shrink)

This is the first comprehensive translation of the expanded French version of E.F.F. Chladni's Traité d'Acoustique, using Chladni's 1802 Die Akustik for reference and clarification. Chladni's experiments and observations with sound and vibrations profoundly influenced the development of the field of Acoustics. The famous Chladni diagrams along with other observations are contained in Die Akustik, published in German in 1802 and Traité d'Acoustique, a greatly expanded version, published in French in 1809. The present translation was undertaken by Robert T. Beyer, (...) PhD (1920-2008), noted acoustician, Professor of Physics at Brown University, and Gold Medal recipient of the Acoustical Society of America. Along with many other projects completed over the course of his career, Dr. Beyer translated Von Neumann's seminal work, Mathematical Foundations of Quantum Mechanics from the original German, spent 30 years translating Russian physics treatises and journals, served as editor of the English translation of the Soviet Journal of Experimental and Theoretical Physics, and also authored Sounds of our Times: Two Hundred Years of Acoustics. Represents the first comprehensive English translation of a seminal work in acoustics Translated by a prominent acoustician, and former Gold Medal recipient of the Acoustical Society of America In addition to the classic experiments with glass plates and violin bows, covers topics in music, architecture, and anatomy of human and animal hearing Appeals to a wide audience in physics, acoustics, and history of science. (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a literary (...) scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

In this article, we provide the first commented edition and translation of an important fragment from Vladimir Zabugin’s posthumous work “The History of the Christian Renaissance in Italy” (Milan, 1924). Zabugin was a Russian historian, philologist and thinker, who lived and worked in Italy in the first quarter of the 20th century. He made an important contribution to the history of ideas with his concept of “Christian Renaissance”, abolishing the postulated antithesis of the Middle Ages and Renaissance as well (...) as the idea of the Renaissance as the revival of antiquity. A sudden death in a mountaineering accident in the Italian Alps prevented Zabugin from completing his outstanding monography: editing the text, compiling notes, bibliography, name index, the absence of which made it very difficult for specialists to refer to the text. That is because a special focus of the present article lies in commenting the fragment and guiding the reader through Zabugin’s key conceptional points. The presented fragment of the first chapter of the book sought to emphasize the continuity of classical and christian culture in Italian proto-Renaissance literature, philosophy, architecture, fine arts. Refering to the eve of the Renaissance (13th century), Zabugin clearly demonstrates how the Christian culture “imperat” here, and the pagan one “ministrat”. (shrink)

The article discusses the process of switching temporal regimes in Soviet culture at the turn of the 1920s - and during the 1930s on the material of architecture. The concepts of time in constructivism and neoclassicism are compared since the struggle between them determined the main vectors of artistic development in the reconstruction period. The author analyzes the discourse of the official position in relation to the main trends in the development of architecture in the context of the periodization of (...) socialist construction and elicits the reasons for supporting the reference to the classical heritage. The change of political agenda set new requirements for architecture as the most important way of social representation. The new society - socialism - was interpreted in constructivism, which was the leading direction of 1920s architecture, in the modus of the future. In the neoclassicism of the 1930s, socialism was placed in the modus of the present. Constructivism was aimed at the pragmatics of restoring social fabric and solving current problems, as well as at constructing a future society and human. At the end of the first five-year plan, the authorities set other goals for culture in general and architecture in particular: the representation of achievements and the expression of the greatness of socialist construction. Neoclassicism was called upon to perpetuate the present state of affairs in the modus of real perfection and superiority of Soviet socialism over any other formats of social life. Between the time of creation and the time of completion, there is formed a gap that must be hidden. As a way of hiding the temporal gap were chosen classical principles of form-making and examples of the Renaissance and Russian classicism, that were designed to convincingly demonstrate, on the one hand, the possibility of accelerating and compressing time, the swiftness of achieving the ideal, and on the other hand, tp depreciate innovations, make the idea of the movement of time into the future unnecessary. The theory of the leading neoclassicist I. Zholtovsky is discussed as an alternative to the utopian interpretation of time in constructivism, as materializing the mythological time, in which the source and end of creation are given simultaneously in the modus of eternity. (shrink)

“Talking Back to Frida: Houses of Emotional Mestizaje” is, in part, a historical meditation on the silencing of three women, Frida Kahlo, Maria Enríquez, a Mexican woman who was sexually assaulted in 1924, and me. Written in an innovative historical fashion that joins techniques drawn from fiction, journalism, and history, the article attempts to understand specific assaults on women’s voices by drawing readers into the historical worlds of the protagonists. “Talking Back” also seeks to respond to Hans Kellner’s incisive theoretical (...) challenge: how do historians’ person histories affect their historical choices? The article’s organization depends on my understanding of language, color, and physicality, as the emotional architecture of the Deep Southern and Mexican places tend to both enclose and partially free the protagonists. The essay begins by leading the reader into my own past in the Deep South, a past where German Jewish and Russian Jewish relatives engaged in a cultural battle over form, personal style, and will. Confronting a German Jewish world where only things—never feelings—seemed to matter, I found solace in the friendship of a black servant. That friendship, in turn, helped prompt a particularly empathic historical voice. The southern section is followed by a journey into Frida Kahlo’s Mexican world. In that world, Kahlo’s severe physical pain and solitude construct inner and outer universes. The people who populate these worlds are friends, lovers, husband, and the Mexican poor. Kahlo’s artistic renditions of these people reflect, the article suggests, both the depth of her love for them and a tendency to use them in response to her despair. Finally, “Talking Back” reconstructs the world of María Enríquez, a Michoacán peasant woman assaulted in public by her former boyfriend. Abandoned by friend, sister, and Catholic women on the way to church, Enríquez develops a voice laced with generosity, cultural insight, and a rare self-possession. (shrink)

My two-year experience with post-doctoral limbo has been categorically thrilling and appalling, at once. Upon finishing a PhD at Deakin University, in Australia, in June 2014 (meaning submitting my dissertation “Visual Agency in Art and Architecture” for external review), and having barely subsisted for almost three years on a nonetheless generous Australian Government-sponsored International Postgraduate Research Scholarship, plus stipend and occasional paid teaching, I first escaped to Ljubljana, Slovenia, by way of Hong Kong and England, where I wrote my first (...) postdoctoral fellowship applications: first for a US Fulbright Scholar Award (which failed); and then, one year later, for an EC Marie Skłodowska-Curie Independent Research Fellowship (which failed). The latter was monumentally bureaucratic, and I only tackled it after the Fulbright had failed. It came back scored like Olympic figure skating. Mostly I got “fives” (and there were no Russian judges involved) ... (shrink)

This paper is a fragment of the book “Kaja od Radosława, czyli historia Hubalowego Krzyża”, which was published by Warszawskie Wydawnictwo Literackie Muza in 2006. It will be published by the American publisher The Military History Press under the title “Kaia Savior of the Hubal Cross”. Covering a century of Polish history, it is full of tragic and compelling events. Such historic events as Polish life in Siberia, Warsaw before the war, the German occupation, the Warsaw Uprising, life in Ostaszków, (...) and the rebuilding of Warsaw are included.The hero Kaia is a woman, christened Cesaria, whose father was expelled to Siberia in 1905 for conspiring against the tsar. Kaia spent her early childhood there, and the family lived near the mountain Altaj. A chapter shows how the Polish community lived there, organized their daily lives, etc. In 1922, the family returned to free Poland, the train trip back taking almost a year. This ordeal is highlighted as a series of stops sometimes lasting for weeks because of heavy snow accumulation, the men shoveling a pathway for the train to pass through, many deaths occurring from the frigid cold with the “caboose” used as a mortuary for Poles to be returned to their homeland for burial. Kaia entered the school system, was eventually educated as an architect, and then World War II started. She lived under the German occupation for the first few years, and later became a conspirator by helping the underground movement. She joined the Armia Krajowa in 1942. At considerable risk, her apartment became a meeting place for the conspirators.After Hubal’s death, one of his couriers gave Kaia the Hubal Cross Virtuti Militari. The cross was with her for the ensuing 50 years. During the Warsaw Uprising, in which she was a courier, she carried the cross around her neck. Many times, she had to travel via the Warsaw underground sewer system. Twice, she was wounded. After the Warsaw Uprising collapsed, she went to the east territory to look for her mother. She was captured by the Russian NKVD in Białystok and sent to Ostaszków. An interesting scene describes one of many interrogations: the Russian interrogator asks if she knows about the cross. Her reply causes a puzzled look on his face. The cross was never discovered (she had hidden it in a specially made shoe). Protection of the Virtuti Militari Cross, which at first had been a challenge to Kaia to survive the Uprising and Russian imprisonment, later became a symbol of courage and determination of the Polish people. In 1946, Kaia returned to Poland very ill and weighing only 38 kg (83.6 pounds). Eventually recovering her health, she worked as an architect involved in the rebuilding of Warsaw totally decimated by the Germans.In the Warsaw Uprising chapter, Kaia’s diary is included, and the book relates the scenes and events that she described. One such experience is most moving. It was a quiet moment, i.e. the shooting had subsided. On a warm beautiful August night, she was sitting, enjoying the quiet alone when, a young man sat down next to her. He was a colleague from architectural school. Together, a few months earlier, they had attended a university ball, and Kaia remembered him as always being funny and amusing. Then, she noticed he was missing one eye and part of his chin. He returned her gaze and jokingly said, “I still have one eye left”. And then, he quietly sang a popular song that they had danced the waltz to… “Not to be in love on such a beautiful night is a sin”… Kaia had to be in the same mood as he was and smiled. A few days later, half of his body was covered in ruins…he could not be helped. His death lasted several days, and he is buried in Powązki Cemetery, like many soldiers of the Uprising. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

The rethinking of the events of the Soviet past largely concerns the sphere of church-state relations. The significant losses of cultural and architectural heritage during the Soviet period make it expedient to study the mechanisms of liquidation of church buildings in the second half of the 1960s. The purpose and objectives of the article. To determine the principles of state policy in the field of religion and methods of its implementation by party-state structures concerning the church network of the (...) class='Hi'>Russian Orthodox Church in the Ukrainian SSR. The research methodology. The research methodology is based on a set of philosophical, general scientific, and historical methods and principles. To solve the specific tasks of the study, the principles of objectivity, historicism, systematicity, and comprehensiveness were also used. Research results. The period of the second half of the 1960s was marked by the liberalization of official views on the religious sphere, the abandonment of repressive methods of fighting religion and the Church, the beginning of the latent destruction of sacred buildings, and the dominance of the Soviet state’s nihilistic attitude toward cultural heritage. The Russian Orthodox Church remained entirely subordinate to the Soviet state, which disregarded its legitimate rights and interests. Discussion. The repressions of the “Thaw“ period and the failure of building a communist society led to a loss of public confidence in the possibility of a just welfare state. It became clear that by practicing persecution, restricting the rights of priests, and banning them from studying in theological schools, the Soviet government was undermining its authority. Therefore, in the 1970s, ideologues of the CPSU Central Committee proposed a new model of churchstate relations — the adaptation to communism. There were no fundamental changes in party policy, as it was based on the Marxist doctrine of religion as the opium of the people. The anti-church orientation of state policy remained, only its forms and methods were transformed. The period of massive closure of Orthodox churches was replaced by a new long-term period, called the period of “streamlining the religious network”. Conclusions. One of the directions of the state’s policy towards religion in the mid-1960s was the targeted liquidation of religious buildings of the Russian Orthodox Church. The main reasons for it were the ideological and political priorities of the state leadership. The closure and destruction of religious buildings were systematic actions of the party-state structures in the process of implementing their policy in the field of religion in the Ukrainian SSR. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Jameson on Jameson: Conversations on Cultural MarxismPaul Allen Miller (bio)Jameson, Fredric. Jameson on Jameson: Conversations on Cultural Marxism. Ed. Ian Buchanan. Durham, NC: Duke UP, 2007. 296 pp.Fredric Jameson may well be the greatest intellectual produced by the United States in the last half century. It is difficult to think of anyone else who has made as many, as lasting, and as wide-ranging contributions as Jameson. From his (...) early work on Sartre’s style, passing through the twin opera on dialectical theory (Marxism and Form) and formalism and structuralism (Prisonhouse of Language), and the idiosyncratic appreciation of Wyndham Lewis (Fables of Aggression) to that summa of Marxist hermeneutics, The Political Unconscious, and from his major collection of essays, The Ideologies of Theory, through his books on Adorno (Late Marxism) and film (Signatures of the Visible), to that foundational text on postmodern literature, theory, art, and architecture, Postmodernism or the Cultural Logic of Late Capitalism, and the late work on world cinema (The Geopolitical Aesthetic), utopianism (The Seeds of Time), Brecht (Brecht and Method), modernity (A Singular Modernity), and science fiction (Archaeologies of the Future), Jameson’s career is unparalleled in the American letters. It is perhaps not coincidental, either, that this larger-than-life figure on the intellectual stage ranging easily from Russian formalism to Deleuzean antihumanism, from Balzac to Frank Gehry, and from Hegel to Derrida, is an intellectual dissident. Contemporary American life’s alternation between uncritical consumerism (Marcuse’s one-dimensional man) and nonothing anti-intellectualism (Christian fundamentalism and corporate-fueled jingoism) could only produce such a body of work as an alien presence: its own systemic negation and thus the fullest expression of its deepest internal contradictions. The present collection of interviews from 1981 to the present, then, stands as a welcome commentary on Jameson’s vast work and an important reflection of the changes in American intellectual life in the period from the last days of the Cold War to the end of the second Bush administration.Naturally, as with any collection of interviews, not every thing is new here. Indeed, to the seasoned reader of Jameson, much of this is familiar territory, and there is a fair amount of repetition from one interview to the next (Goethe’s concept of “world literature,” for example, is a recurring motif). Nonetheless, there are many moments of real insight and bold commentary that remind us why Marxism is far from dead and how Jameson has achieved an iconic status rivaling that of Lukacs, Althusser, or Eagleton, as one of the preeminent Marxist thinkers of the last century. Many of these come in the form of vignettes, little snippets of cultural analysis. One such comes in Jameson’s interview with Columbia University Professor of History Anders Stephanson. Here Stephanson asks Jameson to comment on the recent architectural and cultural phenomenon of creating ersatz public spaces. These come in the form of commercial areas that present themselves in guise of “squares,” “plazas,” or “villages.” They make reference to and pastiche traditional forms of life and then re-represent them in the form of a hypercapitalist consumerism. These simulacra of less alienated, precapitalist forms of [End Page 65] life are then presented as depthless surfaces, parodies of authenticity. The archetype of such ersatz public spaces is Disney’s EPCOT:Stephanson: In other words, you are referring to his compressed version of the world; little toy countries where you can orient yourself in no time at all.Jameson: I suppose you can orient yourself because walking paths are available. But where you actually are is a real problem, for you may in fact be in the Florida Everglades, and in this case you are not only in a swamp but also in a simulacrum of a different geographical complex altogether. Disneyland is, on the whole, supremely prophetic and paradigmatic of these multiple shifting and dissolving spatial levels. (49)This is both an insightful observation and a wonderful example of Jameson’s dialectic at work. One moment we’re walking hand in hand with Goofy round the little, fake Eiffel Tower of EPCOT and the next we sink into the morass that paved the Everglades, acquired control... (shrink)

The emergence of the Cossack community on the southern border was conditioned by its population growth and the necessity to protect Ukrainian lands from Tatar expansion. The long stay of the Cossacks far from the volosts (rural municipalities) raise the need for uniting into cohesive troops led by an experienced ataman. They built fortified towns and small settlements to defend against Horde attacks and securely store their booty. Russian officials wanted to use the Cossack potential and repeatedly offered the (...) ruler of the Grand Duchy of Lithuania to build a powerful fortress on the border with the Crimean Khanate in the 20s and 40s of the ХVІ c. However, due to a shortage of resources, Prince Dmytro Vyshnevetskyi was only able to realize this idea later. There are different versions regarding the castle’s location, purpose, and architectural style. However, the idea of identifying Vyshnevetskyi “town” with the so-called “Khortytska Sich” seems doubtful. No direct evidence of the Sich’s functioning in the 50s of the XVI c. has been found in written sources. Only the presence of a “fortress” or “castle” in Zaporizhzhia is recorded. At the same time, a representative of an aristocratic family made great efforts to defend Ukrainian lands, thus contributing to the consolidation of the Cossack community. This marks the outstanding role of Prince-knight Dmytro Vyshnevetskyi in national history. The castle he built on the Kichkaskii cape of the Dnipro River, also documented in the sources as Mala Khortytsia, served as a prototype for fortifications of the Zaporozhian community. This community, established on the island of Tomakivka in the ХVІ с., came to be known as the Zaporozhian Sich. (shrink)

This paper is a fragment of the book “Kaja od Radosława, czyli historia Hubalowego Krzyża”, which was published by Warszawskie Wydawnictwo Literackie Muza in 2006. It will be published by the American publisher The Military History Press under the title “Kaia Savior of the Hubal Cross”. Covering a century of Polish history, it is full of tragic and compelling events. Such historic events as Polish life in Siberia, Warsaw before the war, the German occupation, the Warsaw Uprising, life in Ostaszków, (...) and the rebuilding of Warsaw are included.The hero Kaia is a woman, christened Cesaria, whose father was expelled to Siberia in 1905 for conspiring against the tsar. Kaia spent her early childhood there, and the family lived near the mountain Altaj. A chapter shows how the Polish community lived there, organized their daily lives, etc. In 1922, the family returned to free Poland, the train trip back taking almost a year. This ordeal is highlighted as a series of stops sometimes lasting for weeks because of heavy snow accumulation, the men shoveling a pathway for the train to pass through, many deaths occurring from the frigid cold with the “caboose” used as a mortuary for Poles to be returned to their homeland for burial. Kaia entered the school system, was eventually educated as an architect, and then World War II started. She lived under the German occupation for the first few years, and later became a conspirator by helping the underground movement. She joined the Armia Krajowa in 1942. At considerable risk, her apartment became a meeting place for the conspirators.After Hubal’s death, one of his couriers gave Kaia the Hubal Cross Virtuti Militari. The cross was with her for the ensuing 50 years. During the Warsaw Uprising, in which she was a courier, she carried the cross around her neck. Many times, she had to travel via the Warsaw underground sewer system. Twice, she was wounded. After the Warsaw Uprising collapsed, she went to the east territory to look for her mother. She was captured by the Russian NKVD in Białystok and sent to Ostaszków. An interesting scene describes one of many interrogations: the Russian interrogator asks if she knows about the cross. Her reply causes a puzzled look on his face. The cross was never discovered (she had hidden it in a specially made shoe). Protection of the Virtuti Militari Cross, which at first had been a challenge to Kaia to survive the Uprising and Russian imprisonment, later became a symbol of courage and determination of the Polish people. In 1946, Kaia returned to Poland very ill and weighing only 38 kg (83.6 pounds). Eventually recovering her health, she worked as an architect involved in the rebuilding of Warsaw totally decimated by the Germans.In the Warsaw Uprising chapter, Kaia’s diary is included, and the book relates the scenes and events that she described. One such experience is most moving. It was a quiet moment, i.e. the shooting had subsided. On a warm beautiful August night, she was sitting, enjoying the quiet alone when, a young man sat down next to her. He was a colleague from architectural school. Together, a few months earlier, they had attended a university ball, and Kaia remembered him as always being funny and amusing. Then, she noticed he was missing one eye and part of his chin. He returned her gaze and jokingly said, “I still have one eye left”. And then, he quietly sang a popular song that they had danced the waltz to… “Not to be in love on such a beautiful night is a sin”… Kaia had to be in the same mood as he was and smiled. A few days later, half of his body was covered in ruins…he could not be helped. His death lasted several days, and he is buried in Powązki Cemetery, like many soldiers of the Uprising. (shrink)

In modern ELP teaching practices online media products are commonly used as resources of educational content. Although the idea that ICT has brought classrooms in our pockets is generally perceived as a positive trend, the overview of recent inquiries into the use of technology in education has revealed a number of contradictory findings connected with multimedia learning. On the one hand, a multiplicity of strengths of online environments such as YouTube channels, Apps, podcasts, etc. is highlighted in the studies exploring (...) the potential of multimedia applications for language learning. On the other hand, there is a significant number of studies which demonstrate opposite observations resulting from the research of the effects of the medium on learning outcomes: some authors argue that students overwhelmingly prefer print over electronic formats for learning purposes, others infer that multiple factors affect learners’ actual behaviors and there is no solid evidence proving the priority of one over the other. Cognitive psychologists are more precise in this point: looking into how people process information they affirm that to be effective instructional framework should not ignore human cognitive architecture. Drawing upon recent studies in the field of designing educational media with regard of cognitive, behavioral, and attitudinal aspects of learning the exploratory study reported in this paper attempts to bridge the cognitive and educational theories to specify the framework of technology-based classes for ELP students. Through three courses of in-depth structured interviews with 58 Russian undergraduate law students doing an ELP course in Saratov State Law Academy, Russia, particular focus was placed on an individual learner’s information coding style, information processing style and reading style. The results of the research suggest some ideas on developing an instructional framework for ELP technology-based classroom tuition taking considering the principles of cognitive teaching. (shrink)

Postmodernism as a mythologem reflecting the remarkable shift that has taken place in contemporary Western culture as a whole entered the consciousness of our intelligentsia with the usual delay. This is not surprising if one bears in mind the constantly "lagging" character of our consciousness, which also colors in corresponding tones the whole of "Russian civilization," and if one believes that it is condemned to be always "catching up" and making up for lost time. Having arisen in the West (...) as a concept describing certain special characteristics of the latest architectural style that no longer fitted into the rather passé category of modernism, the concept of the postmodern was initially current, both in the West and in Russia, among people close to architecture. At that time it had not yet been able to acquire the "philosophical" subtext that is already felt in the book of Charles Jencks that came out in 1977 in Germany under the gaudy title The Language of Postmodern Architecture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Osip Mandelstam and the Modernist Creation of TraditionHarold D. BakerOsip Mandelstam and the Modernist Creation of Tradition, by Clare Cavanagh; xii & 365 pp. Princeton: Princeton University Press, 1995, $39.50.The great, enigmatic poet of twentieth-century Russia, Osip Mandelstam (1891–1938), employed a poetics based on recollection. The word-soul or psyche is not contained within a linguistic body but hovers amorously over it, [End Page 257] fleeing any too crude (...) attempt at capture. The reader must trace out Mandelstam’s personal networks of association, both inside and outside the text, before a kernel of thought and emotion can be recognized (“only the moment of recognition is sweet to us,” goes a famous line from his “Tristia”). Although Clare Cavanagh’s book does not emphasize this theme, her tactics could hardly be better suited to Mandelstam’s peculiar poetic sensibility.Osip Mandelstam and the Modernist Creation of Tradition is an exhaustive exploration of historical and cultural context. It opposes itself explicitly to the traditional structuralist and semiotic approaches to Mandelstam, and takes his works in their “secular” rather than their “hermetic” aspect (to borrow terms from Robert Scholes). In that sense it seeks to recollect and bring to mind everything that might affect our understanding of Mandelstam’s oeuvre. This turns out to be a varied field: Pound and Eliot (coeval modernists whose ideas resonate significantly with his), François Villon, Byzantine and Gothic church architecture, the marginalized yet culturally dynamic position of the Russian Jew, Pindar (an exemplar of the social-economic relation of poet to state), Dante, the psychology of literary play, and even Charlie Chaplin. Although it does not use extensive biographical framing, the book proceeds through Mandelstam’s poetry and prose in chronological order, alternately pursuing aspects of context and concentrating on selected works by Mandelstam for sustained analysis.What results is perhaps the most serious comprehensive work on the poet produced so far. Cavanagh’s approach may appear diffuse at first, but it enables her to capture a great deal of this elusive genius without confining Mandelstam within a narrow critical purview. The book’s argument is that Mandelstam qualifies as a central modernist poet through his agonistic relation to an ideal of “world culture.” He attempts to recreate an authoritative literary and cultural tradition that his own innovative work would both continue and transform. And it is from this point of view that Mandelstam’s Jewishness appears so significant to Cavanagh (a chief issue in three out of eight chapters): it gives a precise formula for that position both inside and outside of the dominant culture. Cavanagh even contends quite suggestively that, for Mandelstam, both Dante and Chaplin function as avatars of Jewishness.All this is well-founded and important, but perhaps the best thing about her book is that its central argument doesn’t do justice to the richness of Cavanagh’s own materials. Her discussion does not weaken, for instance, as it leaves Mandelstam’s early period, when the notion of “world culture” was indeed an obsessive one for him. The book is equally effective on the brilliant late poems of the Voronezh cycle, by which time not only a place in world culture but even a secure place in human society seemed futile dreams to Mandelstam. Cavanagh’s readings of the prose and especially the poetry are flexible and sensitive; she gives beautiful accounts of the poetic wordplay and follows closely the ebb and flow of musicality in the verse from one period and [End Page 258] collection to another. More than a milestone in Mandelstam studies, this book brings the poet closer to realizing his fondest dream: a responsive, understanding readership or “interlocutor.”Harold D. BakerUniversity of California, IrvineCopyright © 1996 The Johns Hopkins University Press... (shrink)

The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of (...) stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects. (shrink)

The stone lion played an important role in ancient Chinese architectural decoration and was often used in traditional Chinese architecture in different Chinese dynasties. China is not the natural habitat of the lion, but this animal has long been revered by the Chinese. The stone lion is a metaphor of the Chinese culture. The stone lions are one of the most important artistic expressions in various arts. As the stone lion culture emerged, developed and matured, its artistic image has become (...) a unique spiritual and cultural symbol in China. This article consists of three parts: the historical status and symbolic significance of stone lions; the characteristics and evolution of the stone lion image in different dynasties of China; and the decorative characteristics of stone lions in different subject-spatial environments. The article is devoted to research and interpretation of the symbolic meaning of the Chinese stone lion, its decorative characteristics in different subject-spatial environments; analysis of its characteristics and evolution of its image in different historical epochs. Using various examples the article shows how culture and ideology have influenced the evolution of the characteristics of the image of the Chinese stone lion. (shrink)

In his book A History of the Culture of the Modern Period, the eminent scholar Egon Friedell wrote concerning Descartes's influence in seven-teenth-century France that all the efforts of the great philosopher's critics notwithstanding, "his school inexorably extended its influence not only through the ‘occasionalists,’ as his closest disciples and followers in philosophy were called, and through the remarkable logic of the Port-Royal school The Art of Thinking and Boileau's tone-setting work The Poetic Art: rather, all of France, headed by (...) the "Sun King," who at one time had banned Descartes's works, became his school. The state, economy, theater, architecture, religious affairs, strategy, and the art of gardening all became Cartesian. Descartes reigned unrestricted, as a sovereign, in all things: in tragedy, where the passions struggled with one another; in comedy, where algebraic formulas were devised for human characters; in the area around Versailles, dominated by the abstract symmetry of gardens; in the analytic methods for waging war and running the economy; and in the so to speak deductive ritual of hairstyles and manners, dances and genteel conversation. One can even say that to this day every Frenchman is a born Cartesian.". (shrink)

The subject of the study is the Seljuk cultural code in the cultural landscape of the Crimea. The object of the study is the Seljuk style in the decorative and applied arts and architecture of the Crimea. The article uses the following methods: culturological (ontological and semiotic) analysis in deciphering the meanings of Seljuk elements, the method of historicism in the ontology of Seljuks in the Crimea, the method of analysis of previous studies, the method of synthesis in the identification (...) of ethnic signs. The article discusses the following aspects of the topic: The semantics of the Seljuk code in the cultural landscape of the Crimea is revealed, examples and ways of applying Seljuk stylistics in decorative and applied art and architectural decor of modern and postmodern are considered. 1. The multinational cultural landscape of Crimea consists of the cultures of ethnic groups that inhabited the Crimea in different periods. The leading marker of the definition and self-determination of ethnic groups is religion and folk mythology, embodied in national traditions. A clear example demonstrating ethnic identity and its continuity is folk art. 2. The appearance of the Seljuks in Crimea and the wide spread of the Seljuk style, which has become one of the main components of the "Crimean style" in modern and postmodern architecture, is not accidental and is due to centuries-old ethnic migrations and the mutual influence of cultures. The Seljuk style, therefore, ceases to be purely ethnic, and becomes part of the cultural landscape of the Crimea, used in the decor regardless of the ethnic origin of the author / owner. 3. A special contribution of the authors to the study is the identification and justification of the Seljuk code as one of the main ones in the Crimean stylistics. The scientific novelty of the research consists in the semiotic and stylistic analysis of the Seljuk code in the cultural landscape of the Crimea. (shrink)

In many ways the twentieth century was a turning point in the history of mankind. Rebellious social forces defied any reasonable explanation. Philosophical theories of society that had previously been considered true turned out to be inapplicable to the analysis of new historical processes. To an even greater extent than before, religion began to be used by its ministers in the service of corporate and political interests. The hope of solving the problems of human existence and social development with the (...) help of science was also shaken, for many phenomena of human life and cosmic processes were not amenable to scientific explanation. In spite of the impressive successes of science, which changed the face of the world, a critical, even negative, attitude towards science increasingly took hold of public opinion, for the negative features of the technogenic civilization that science helped to create became more and more visible. There were also cultural crises. Alongside beautiful examples of painting, poetry, literature, music, and architecture, a mass culture ruled by the dark spirit of consumerism, banality, and violence sprang up and entrenched itself. The moral sphere is in serious crisis. First the West and, following it, Russia tasted the bitter fruits of the sexual revolution. All of this was the reflection of a deep spiritual crisis that enveloped mankind, a crisis that became obvious in the twentieth century. (shrink)

Originally, the Church of the Caves was not a temple in the sense of an architectural building but a complex of caves. The word "church" is used here in its initial gospel sense of council, a gathering of the initiated. Thus, what we are talking about is a certain community that prefers life in a cave to a settled secular social order. A study of the symbolic aspects of the image of the cave and cave dwelling can be an interesting (...) contribution to the explication of certain essential features of Old Kievan monasticism. This article is an attempt at such an explication. (shrink)

The article explores the evolution of the idea of correlating numbers and meanings, from ancient numerological systems to modern models of natural language processing based on vector representations and neural networks. The authors demonstrate that the aspiration to uncover hidden properties of objects by associating them with numbers and performing operations on these numbers has been a common thread across various cultures for millennia. The article traces the stages in the formation of the concept of mathesis universalis (universal mathematics), starting (...) from Aristotle and Proclus’s reflections on general mathematics and culminating in R. Descartes’s ideas about the existence of a universally applicable science of order and measure. Particular attention is devoted to G.W. Leibniz’s ambitious project of creating a universal characteristic – a formalized language in which all knowledge could be precisely expressed and logical inference could be carried out through calculations. It is noted that, despite inherent limitations, some of Leibniz’s intuitions have found embodiment in natural language processing technologies based on vector representations of words. However, the simple correlation of concepts with vectors is insufficient for the full realization of the idea of a calculus of reasoning, as it lacks a mechanism for deriving true statements from others. The development of the transformer architecture, which employs the mechanism of self-attention to construct context-dependent vector representations, has been a significant stride towards the automation of reasoning. Nevertheless, modern language models are based on the principle of maximizing likelihood rather than rigorous logical rules. The authors analyze conceptual solutions proposed for creating a comprehensive calculus of knowledge. In conclusion, it is emphasized that, while the idea of reducing reasoning to mathematical operations is undeniably attractive, one should be cautious about its maximalist interpretations. Cognition is constructive in nature, and even the most perfect model of formalization of reasoning cannot substitute for the practical wisdom and freedom of human thought. (shrink)

The article analyzes the role of theories of embodied cognition for the development of emotion research. The role and position of emotions changed as philosophy developed. In classical and modern European philosophy, the idea of the “primacy of reason” prevailed over emotions and physicality, emotions and affective life were described as low-ranking phenomena regarding cognitive processes or were completely eliminated as an unknown quantity. In postmodern philosophy, attention focuses on physicality and sensuality, which are rated higher than rational principle, mind (...) and intelligence. Within the framework of this approach, there is a recently emerged theory of embodied cognition, which allows to take a fresh look at the place of emotions in the architecture of mental processes – thinking, perception, memory, imagination, speech. The article describes and analyzes a number of empirical studies showing the impossibility of excluding emotional processes and the significance of their research for understanding the architecture of embodied cognition. However, the features of the architecture of embodied cognition remain unclear, and some of the discoveries of recent years rather raise new questions and require further research. The rigorously described and clear architecture of the embodied cognition can grow the theoretical basis that will allow to advance the studies of learning processes, language understanding, psychotherapy techniques, social attitudes and stereotypes, highlight the riddle of consciousness and create new theories of consciousness or even create an anthropomorphic artificial intelligence that is close to “strong artificial intelligence.”. (shrink)

The subject of this study are the architectural and urban planning projects of the scientific town of Pushchino of the USSR Academy of Sciences, developed in the second half of the 20th century. It focuses on high-rise accents planned in the master plans from the 1950s to the 1980s, which, though never realized, played a crucial organizing role in the city's developmental compositions over the years. These "paper" projects significantly influenced the actual architectural ensemble of the city. Specific changes in (...) the creative concepts are correlated with personnel shifts within the team that developed the projects for Pushchino. The dynamics and direction of architectural searches are considered within the broad context of the history of Soviet architecture and are compared with global processes and the positions of architectural theorists and philosophers. The research employs a formal and comparative analysis method, structured historically to segment the creative process into periods that reflect both the subject of the research and the broader historical and architectural context of the era. The scientific novelty of the research lies in the comprehensive analysis of numerous urban planning and architectural projects, gathered through extensive research in state and personal archives. This allowed for the first time to consider the work of architects on the planning projects of Pushchino as a dynamic process, revealing changes that occurred at each of its stages. Through the analysis of the development of “paper” dominants, wandering from project to project, changes in the global urban planning concepts of the city were traced. Consequently, the article provides insights into the development of urban planning in Pushchino, viewed through the lens of high-rise accents. It also paves the way for further research into other aspects of the process, contributing to a more comprehensive and profound understanding of urban architectural development. (shrink)

In his wide-ranging study of architecture and cultural evolution, Chris Abel argues that, despite progress in sustainable development and design, resistance to changing personal and social identities shaped by a technology-based and energy-hungry culture is impeding efforts to avert drastic climate change. The book traces the roots of that culture to the coevolution of Homo sapiens and technology, from the first use of tools as artificial extensions of the human body to the motorized cities spreading around the world, whose uncontrolled (...) effects are fast changing the planet itself. Advancing a new concept of the meme, called the 'technical meme', as the primary agent of cognitive extension and technical embodiment, Abel proposes a theory of the 'extended self' as a complex and diffuse outcome of that coevolution. Challenging conventional ideas of the self as a separate and autonomous being, the extended self, he explains, encompasses material and spatial as well as psychological and social elements, including the built environment and artifacts, and now reaches out into the virtual world of cyberspace. Drawing upon research into extended cognition and embodied minds from philosophy, psychology and the neurosciences, the book presents a new approach to environmental and cultural studies. N.B. This book was the winner of the International Committee of Architectural Critics 2017 Bruno Zevi Book Award by unanimous decision of the international jury. (shrink)

This paper proposes a brain-inspired cognitive architecture that incorporates approximations to the concepts of consciousness, imagination, and emotion. To emulate the empirically established cognitive efficacy of conscious as opposed to non-conscious information processing in the mammalian brain, the architecture adopts a model of information flow from global workspace theory. Cognitive functions such as anticipation and planning are realised through internal simulation of interaction with the environment. Action selection, in both actual and internally simulated interaction with the environment, is mediated by (...) affect. An implementation of the architecture is described which is based on weightless neurons and is used to control a simulated robot. (shrink)

Where is imagination in imaginative resistance? We seek to answer this question by connecting two ongoing lines of inquiry in different subfields of philosophy. In philosophy of mind, philosophers have been trying to understand imaginative attitudes’ place in cognitive architecture. In aesthetics, philosophers have been trying to understand the phenomenon of imaginative resistance. By connecting these two lines of inquiry, we hope to find mutual illumination of an attitude (or cluster of attitudes) and a phenomenon that have vexed philosophers. Our (...) strategy is to reorient the imaginative resistance literature from the perspective of cognitive architecture. Whereas existing taxonomies of positions in the imaginative resistance literature have focused on disagreements over the source and scope of the phenomenon, our taxonomy focuses on the psychological components necessary for explaining imaginative resistance. (shrink)