The article substantiates the mechanisms of the relationship and interdependence of the institutes of private collecting and art market. The author analyses the peculiarities of mutual congruence and interaction of the art market and private collecting areas. Private collecting can also act as a form of consumption of cultural artifacts (material and symbolic), circulating within the art market as well as the method of their accumulation, saving, managing, promoting and communication. The author investigates the concept and principles of the existence of the modern art market and reveals multiple aspects of its essence as an economic and socio-cultural phenomenon, "the market of symbolic values", specific mechanism, through which the art reaches the consumer, and also controls the distribution of cultural artifacts in a society. The author analyzes the notion and essential features of private collecting as the social and cultural phenomenon and identifies the principles of private collection functioning. The system of interaction of the modern art market and the private collecting in the field of the art culture is highlighted in the article, within the framework of its values. At the same time both – the modern domestic art market and private collecting are involved in the strategy of the preservation of cultural heritage and cultural values, aimed at the global socio-cultural result of their introduction into the living space of modern society. The author argues that the institution of private collecting is one of the most significant factors in the development of the modern art market in the contexts of consumption, conservation, trade, systematization and interpretation of cultural artifacts, especially objects of art.
The paper deals with the complex of challenges which the museum faces while conserving Digital Arts. The absence of unified strategies and norms of keeping digital art is actual both for the Russian and international museum practice. Basic approaches to its museumification (traditional museum conservation, migration, emulation and reinterpretation) are studied in the context of contemporary museological theory and on the basis of the analysis of their application towards certain digital artworks.
The article continues the earlier begun research in “Ideas and Ideals” (№-s 19, 21, 23). Now we examine the ethical aspect of the music function. ‘Music contributes to the moral perfection of people’- this well-known statement we meet in a great number of scientific and literary sources from Ancient Greece (music ethos, the “kalokagathia” doctrine – unity of Beauty and Kindness) till our days. The article's task is to argue our hypothesis about the moral aspect of music, describing the mechanisms of this impact. The main idea of the hypothesis is that it is the professionalism of a composer (as a talented person) that creates moral perfection of people and personal moral values of the composer have nothing to do with this process. The masterly organized music form triggers the mechanism of moral perfection. Just “well-made” music (not any accidental sounds' connection) evokes positive emotions, which have wholesome influence on listener's moral. The beauty of music forms has influence on auditorium; music harmony (in narrow and wide senses) contributes to the development of a harmonic person. The article contains some literary examples with the author’s music analysis, which prove the hypothesis (“Mozart and Salieri”, “War and Peace”). The highest form of this music transforming function is moral purgation (catharsis) as a result of emotional “explosion” during music listening. Music catharsis confirms “The Moral Law Within Me” (Kant).
The article is devoted to one of the urgent problems of mass musical culture - the problem of parodying and mocking of authoritative cultural phenomena that has become one of the inherent properties of postmodern aesthetics. Genre of author's song, which has found unprecedented popularity since the mid-1950s as a focus of freethinking and lyrical outpouring, is regarded as an object of ridicule and irony in the era of the 2000s. A parody of "loud" and "quiet" bards became mandatory in the sitcoms of recent years, humiliating this layer of amateur song culture. The phenomenon of parodying of performers in the art song genre as one of the important components of mass music becomes for the first time the object of scientific understanding, bringing the issue to the field of cultural and artistic research. The author of the article analyzes the ways of debunking the bards’ pseudo-truthfulness and nostalgia, naive dilettantism and commonness. Parodies to bard songs are regarded as new forms of challenge to society, "laughter therapy" through sophisticated vulgarity and absurdist scenes. Musical and scenic component (whether it is expressive manner in the spirit of Vladimir Vysotsky, or quasi-fake, primitive sounding of "outdoorsy campfire" bards) involves methods of making comical and serves to create an atmosphere of fun.
The article offers the interdisciplinary culturological and art-critical approach allowing to reveal a number of the important semantic points in interpretation of a picture of the Altai artist A. Gnilitsky "Encounter". The painting became widely known due to its participation at exhibitions in Altai and Siberian exhibition in Omsk in 2013. Here the artist continues the tradition of Russian realistic portrait, and his manner of painting is close to the Russian Impressionism, going back to L. Turzhansky. The method applied here shows its prospects in the analysis of the works of contemporary artists, the painting reveals the figurative and psychological aspects of thematic portrait, makes it possible to describe and identify the specific features of the artistic manner of A. Gnilitsky.