№ 8 (2025)
Articles
The influence of technology on the formation of the photographic image: a series of photographs by Michal Rovner "Outside"
Аннотация
Michal Rovner (1957) is a contemporary Israeli artist who combines various mediums in her artistic practice, particularly photography. The focus of this research is the series of works by Michal Rovner titled "Outside," created in the early 1990s, and the subject of the study is the influence of technological processing on the formation of the photographic image. Despite the fact that each photographic image is the result of specific actions by the photographer, each shot undergoes processing by the camera. This article attempts to draw attention to this gap in photography. One of Michal Rovner's early works was chosen as a case study. For several years, the artist photographed a Bedouin hut located in the desert. Subsequently, the images underwent processing, resulting in a series with a special rhythm. The process of editing these images plays a key role. The methodology of this research is based on the intersection of two issues: the theory of photography and the theory of the photographic image. The article conducts a visual analysis of the series "Outside." Drawing on theoretical reflections from representatives of photographic discourse (W. Benjamin, S. Krauss, S. Sontag, etc.), the text presents various viewpoints regarding the technical component in photography. The scientific novelty of the article lies in examining the series "Outside" from the perspective of the technical side of photography. Rovner's photographic works, seen from this angle, appear not only as aesthetic phenomena but also as examples of a unique artistic practice. The dynamics of the photographic image depend directly not only on the specifics of the viewer's perception but also on the technical process underlying the photograph. In her artistic practice, Rovner hyperbolizes this aspect of photography, bringing the technical side to the forefront. She alters the colors of photographs, makes elements blurry, and disrupts the structure of the original photograph. The issue of the relationship between technique and photography becomes particularly relevant in the late 20th century, when the technological component of photography begins to change – digital images replace analog ones. New technologies have made it much easier to create technical images, leading to a significant increase in their production. This circumstance compels us to again turn our attention to the technical side of photography.
Philosophy and Culture. 2025;(8):1-16
1-16
Leisure of German Scholars in Russia in the Second Half of the 18th Century: Spaces of Adaptation
Аннотация
This study is dedicated to the exploration of leisure practices of German scholars who worked in the Russian Empire in the second half of the 18th century. Invited to work at the St. Petersburg Academy of Sciences, they brought with them not only types and forms of scientific work but also a specific lifestyle and rituals of "scholarly leisure." Based on the analysis of letters and memoirs of well-known German scientists (such as G.F. Müller, P.S. Pallas, A.L. Schlötzer, and J. Steplin), as well as documents from their contemporaries, the main forms of leisure have been reconstructed and the spaces of their adaptation have been identified (private and public, social and symbolic). Particular attention is paid to intellectual leisure, which included practices that were previously uncommon in Russia. Collecting, correspondence, and building libraries became a way to transmit Enlightenment values and cultural habitus. The methodological approach combines cultural reconstruction of practices, historical-source analysis of everyday life, and philosophical reflection on leisure as a symbolic space structuring social identities. The scientific novelty of the work lies in rethinking the role of leisure as an active mediator of intercultural interaction and a crucial factor in the professional self-identification of the scientific community. The new profession of a scholar, which was institutionalized in the Russian Empire only in the 18th century, entailed the formation of specific models of behavior and self-presentation not only within the walls of the Academy but also in other sociocultural spaces. Through various private and public forms of leisure, there was an intensive transmission of not only relevant scientific knowledge but also fundamental norms of academic ethics, Enlightenment values, and models of social behavior of the intellectual elite. At the same time, these practices were not just transferred but transformed, reflecting the specifics of the Russian social and institutional context (the social circle and structure of leisure spaces changed, Russian forms of leisure were borrowed, and norms of court etiquette and patronage systems characteristic of the imperial environment were assimilated).
Philosophy and Culture. 2025;(8):17-26
17-26
Transduction, systems, networks: a theoretical-methodological complementary triad in the study of technosocial reality
Аннотация
The article offers an innovative theoretical and methodological framework for analyzing technosocial reality through the synergy of three approaches: transduction (G. Simondon), systems theory (N. Luhmann), and network analysis (M. Castells). In conditions of digital turbulence, when traditional disciplinary models fail to explain the dynamics of hybrid systems (algorithms, digital platforms, cyber-physical spaces), this triad overcomes the limitations of reductionism. Transduction reveals the mechanisms of spontaneous genesis of novelty, network theory maps out the flows of resources and power, while the systemic approach provides the tools for understanding the resilience of structures in a metastable environment. The complementarity of these perspectives allows for capturing the key dynamics of the formation of modernity, which includes significant factors: processuality, nonlinearity, and conflict, inaccessible to each paradigm separately. This theoretical "alchemy" transforms the methodological crisis of the digital age into a powerful tool, where the metastability of technosocial formations acquires intelligible contours. The methodological toolkit of the article is based on the sequential application of four complementary methods within the framework of the complementary triad (Simondon – Luhmann – Castells): comparative analysis, case-oriented modeling, genetic-structural method, and dialectical hermeneutics. This synthetic framework overcomes the static nature of traditional methods, replacing linear causality with the analysis of feedback loops in procedural reality. The key task of the methodology is to unveil the complementary triad for subsequent effective understanding of the contingent and recursive process of the technosocial phase of individuation, producing operationally closed (autoethetic) systems. The study synthesizes three heterogeneous theoretical traditions for the first time, creating a language for analyzing the elusive ontology of the digital age, where human and non-human actors co-evolve through autopoiesis, transductive leaps, and network topologies. The relevance of the work is determined by the crisis of classical sociocultural methods in the face of phenomena such as artificial intelligence in management, which not only executes commands but generates solutions based on data, or blockchain communities that are decentralized around distributed ledger technologies. The practical significance of the approach lies in the development of tools for: forecasting points of bifurcation in technosocial systems (at the intersection of Simondonian metastability and Luhmannian selection); deconstructing the power of algorithms through the lens of network asymmetry (Castells) and operational closure (Luhmann); and the ethical design of digital environments where transduction becomes the creation of a new metastable state of the system.
Philosophy and Culture. 2025;(8):27-43
27-43
Technosocial Challenges of the 21st Century: Practical Application of Transductive System-Network Methodology (TSNM)
Аннотация
The modern stage of the development of the technosocial reality of the 21st century is increasingly characterized as a period of sharp complexity increase in systems, heightened turbulence, and unpredictability, accompanied by the emergence of unprecedented global threats and risks. A key factor generating this increased complexity, uncertainty, and loss of traditional predictability is the deep process of interdependent development of humans, society, and technological systems, which encompasses our entire civilization. The hybridity, nonlinearity, dynamism, and global scale of these issues make traditional disciplinary approaches (social constructivism, technological determinism) inadequate for their analysis and resolution, requiring a fundamentally new methodological optic. The theoretical foundation for overcoming this dichotomy is based on the concepts of G. Simondon (transduction and individuation), N. Luhmann (theory of social systems), and M. Castells (network society). Their complementary integration forms the core of the proposed methodology. The research methodology is based on the sequential application of four complementary methods that ensure analytical depth and systematic comparison of the concepts of Luhmann, Simondon, and Castells: the comparative-analytical method, the hermeneutic method (deep interpretation), the method of theoretical synthesis and conceptual integration, and historical-philosophical reconstruction and contextualization. The methods are chosen to not only conduct a detailed comparison but also to adequately work with very different types of theories (the highly abstract systemic theory of Luhmann, Simondon's ontology of technology, and Castells' sociological theory). In response to this need, a transductive systemic-network methodology (TSNM) is proposed, representing a new class of complementary research strategies. Its novelty lies in the synergistic application of three perspectives: transduction (G. Simondon) for analyzing the emergence and materiality of technosocial hybrids, systemic theory (N. Luhmann) for understanding autopoiesis and unintended consequences in complex systems, and network analysis (M. Castells) for identifying power relations and inequality in the "space of flows." The practical value of TSNM lies in its ability to: 1) provide a comprehensive analysis of complex technosocial issues; 2) identify points of risk and opportunity; 3) inform ethical technology design (Ethics by Design) and lead the development of adaptive regulation and strategies for ensuring safe and equitable development. TSNM serves as an indispensable tool for navigating and consciously shaping the technosocial future.
Philosophy and Culture. 2025;(8):44-70
44-70
From Gaming Engagement to Creative Thinking: A Cultural-Philosophical Analysis of Game Mechanics in Genshin Impact
Аннотация
The article analyzes specific game mechanics in Genshin Impact that ensure a high level of player retention and emotional engagement, including an examination of interfaces, economic models, and narrative structures. The video game is considered a representative example of contemporary digital culture, embodying archetypal principles of play as described by J. Huizinga and R. Caillois. The subject of the study is the system of game mechanics that foster player retention and emotional involvement. Specific mechanics examined include the gacha system, models of artificial progression slowing, narrative techniques for fostering character attachment, and principles of game world and event design that sustain consistent player activity. The central focus of the work is the deconstruction of attention management mechanisms and the analysis of behavioral pattern formation. The methodological foundation includes case study analysis, hermeneutic analysis of game text, and the conceptual framework of bisociation theory. The study investigates mechanics such as the gacha system, artificial progression slowing, the "forty-second rule," and narrative design, examining them as a complex system of emotional and cognitive influence. The novelty of the research lies in the synthesis of a cultural-philosophical approach and game studies methodologies to identify the specifics of player engagement. The article implements a comparative analysis of classical play theories by J. Huizinga and R. Caillois with contemporary game design practices. A detailed investigation of Genshin Impact's game mechanics is conducted, not as isolated elements, but as a unified system whose synergistic effect ensures long-term engagement and the formation of regular play practices. It is established that the persuasiveness and retention potential of Genshin Impact are achieved through a nuanced combination of chance elements (alea), narrative immersion (mimicry), and the formation of ritualized practices, leading to the establishment of stable models of player behavior. The research results contribute to the understanding of video games' functioning as a sociocultural phenomenon and outline prospects for further study of the psychology of the gaming experience.
Philosophy and Culture. 2025;(8):71-86
71-86
Information Flow Analysis in Kogonada's 'Columbus'
Аннотация
The article investigates the specifics of transmitting authorial intent from filmmaker to viewer in contemplative cinema, utilizing Kogonada's 'Columbus' (2017) as the primary analytical material. The subject of comprehensive systemic analysis encompasses informational transformations arising throughout the communicative transmission process in "slow" cinema. The study examines in detail the distinctive characteristics of informational aberrations within the context of intentional reduction of dramatic stimuli, analyzing key scenes featuring understatement, communicative breakdowns, and architectural framing of characters. Particular attention is devoted to the role of modernist buildings as active participants in the communicative process, the influence of intermediary mechanisms (festival distribution, criticism, digital platforms) on final audience reception, and cognitive aspects of viewer decoding of contemplative content within contemporary fragmented media consumption patterns dominated by clip-based thinking. The research employs an interdisciplinary approach, integrating Shannon-Weaver information theory, Hall's encoding-decoding paradigm, and Miller's cognitive limitation framework. The methodology encompasses detailed frame-by-frame analysis of pivotal episodes (the "guide mode" dialogue, telephone conversation, failed party) with temporal markers and semiotic analysis of architectural elements as visual codes. A systematic examination of contemplative cinema through the lens of informational flow from filmmaker to audience via intermediary channels reveals specific mechanisms of informational transformation within minimalist aesthetic frameworks. The investigation establishes that in slow cinema, informational noise emerges not through redundancy but via deliberate understatement, which functions as a productive artistic device for meaning generation. The study identifies the role of architectural elements in shaping communicative processes and influencing viewer perception, examines the specificity of intermediary filtering mechanisms within independent film production systems and their selective audience impact, and proposes a reconceptualization of traditional approaches to analyzing viewer reception regarding contemplative formats. The research findings contribute to film theory frameworks for studying and analyzing audiovisual materials. This work continues a series of scholarly articles devoted to the problematic of informational noise in screen arts, commenced by the author in 2023.
Philosophy and Culture. 2025;(8):87-97
87-97
"Anfisa" by L. Andreev: early theatrical productions. Pavel Samoilov as Fyodor Kostomarov (New Dramatic Theatre, 1909), Ekaterina Roshchina-Insarova as Anfisa (K. Nezlobin Theatre, 1910)
Аннотация
The key figure of the "new drama" and the new theater of the 20th century is Leonid Andreyev, whose work is associated with radical innovations in directing. However, the "Theater of the Actor" remains in the shadows – the explorations undertaken by artistic individuals within the "territory" of Andreyev's dramaturgy. One such forgotten and, in essence, lost narrative in theater studies is the first productions of the play "Anfisa" (1909). Andreyev's new play particularly interested the acting theater. The first productions were carried out by private stages: the Petersburg New Dramatic Theater and the Moscow troupe of Konstantin Nezlobin. In the first performance (1909), the scenic authorship belonged to the actor Pavel Samoylov, who played the role of Fyodor Kostomarov, while in the second (1910), it was actress Ekaterina Roshchina-Insarova who performed the titular role of Anfisa. Two dissimilar stylistic artistic personalities, Samoylov and Roshchina-Insarova, presented two polar variants of Andreyev's play. In Samoylov's case, the "neurasthenic actor," the naturalistic style is clearly evident. In Roshchina-Insarova's variant, the modern actress, a new – poetic – structure of imagery is apparent, and this new imagery can be most closely associated with symbolism. Based on the reviews of contemporaries, a reconstruction of the roles has been conducted, which implies a critical approach and contextual analysis. The methodological foundation has become a complex of historical approaches, primarily the comparative-historical method. For the turn of the first decades of the 20th century, these two radically opposed interpretations of "Anfisa," the Samoylov and Roshchina versions, turn out to be more than a local phenomenon. It is precisely within the territory of Andreyev's play, which provided opportunities for such extreme interpretations, that the movement of artistic time is revealed – the change of artistic currents: it is evident that by the end of the 1900s, naturalism was a completed stage in art. Symbolism, in turn, emerges as the sought-after "new," and it is this "new" that is embodied in the individuality of the actress. It is significant that Roshchina-Insarova would become so appealing to the future directing theater (primarily for the key figure of this theater, Vsevolod Meyerhold). From the new stylistic individuality of the actress, a new stylistic construct of the performance can and should be created: as is well known, it is precisely in the category of style that different "lines" combine into a whole: artistic and historical, individual and temporal.
Philosophy and Culture. 2025;(8):98-110
98-110
Furniture decoration of the grand interiors in the suburban estates of the Sheremetyev counts. The role of the customer and the architect
Аннотация
The subject of this research is the interaction between the client and the architect in the formation of the atmospheric complex of Moscow interiors during the Neoclassical era, with the object being the furniture decor of the ceremonial halls in the suburban estates of Kuskovo and Ostankino, owned by the Sheremetyev counts. The methodological basis of the research implies the application of a sociological approach, as well as various methods used in contemporary art studies. Through comparative analysis of preserved furniture items and architectural graphics, as well as the study of archival documents, the author concludes how significant the role of the client was in Moscow when designing the interior ensemble. In contrast to St. Petersburg, even at an early stage of Neoclassical development in Moscow, the client acted as a full co-author of the architect: not only did he actively express his requirements and wishes regarding the final result, but he also repeatedly "edited" the proposed designs. This scenario is clearly illustrated by the activities of Count P. B. Sheremetev, who articulated his artistic ideas at a high professional level. However, this approach became particularly pronounced by the end of the century, with the spread of the phenomenon of "country house amateurism." For instance, Count N. P. Sheremetev, who received an excellent European education, was an undisputed arbiter of taste in organizing the spatial environment of Moscow interiors. It is precisely away from the strict regulations of the Court that the estate's space becomes a fertile ground for testing the client's original creative ideas. The conclusions drawn from the research allow for a clearer picture of the distinctive character of the furniture decor of secular interiors in the Moscow context and significantly expand the existing understanding of private commissions during the Age of Enlightenment.
Philosophy and Culture. 2025;(8):111-121
111-121