The “Sonic Flux” as Мaterialism Going to the End
Polina Dronyaeva
DOI: 10.17212/2075-0862-2024-16.1.1-103-128

The article analyses both the book of American philosopher ChristophCox “Sonic Flux: Sound, Art and Metaphysics” and a wide range of criti­cal publications dedicated to this book. The project “Sonic Flux” belongs tosonic materialism (a branch of “New Materialism’) also known as “Deleuziansound studies”. For Cox this means a development of “immanent metaphys­ics” launched by G. Deleuze. But while continuing the project of Deleuze,Cox inherits his predicaments. Their range is as broad as the specter of Cox’ssources covering philosophy, arts, theory of perception. Debates around theproject “Sonic Flux” highlighted such problems as the way Cox understandsmaterialism and how he understands access to reality. Cox’s correlation of fi­nite and infinite; particularity and universality, and anti-historicism are highlyproblematic for critics. Since Cox claims to develop a theory of sound art weassess his ideas from this perspective. This allows us to focus on modernism,anonymity and anti-humanism, central to Cox’s project but not to its criti­cism. A less important aspect – resentiment in Cox’s style – turned out to behelpful in drawing conclusions that the whole project “Sonic Flux” is builtupon a range of assumptions. Cox himself names some of them while weindicated some others.

The main conclusion of the article is the idea that the project “Sonic Flux” cannot provide an adequate theory of sound art nor contribute to sound stud­ies because it is too embedded in the worst kind of modernism and structural­ism. Such important notions of sonic materialism as autonomy and anonymity of sounds perfectly fit the tradition of Modernism while being completely alien to the sound studies.

Luoshu Magic Square: Register of Truth
Andrey Krushinskiy
DOI: 10.17212/2075-0862-2023-15.2.1-223-244

The world’s oldest 3x3 magic square, discovered/invented in Ancient China and now known as Luoshu 洛書/ ‘Document [from the River] Luo’, was endowed by Chinese tradition with unprecedented dignity and placed at the very heart of Chinese thought. The bewitching geometric-numerical imagery of Luoshu, open to a great many different visions, when reading-interpretation becomes the final moment of the very act of perception, turns this Chinese mandala into a real eye trap. With its disturbing persistence, it resembles the magically attractive ‘Zahir’ from Borges’ short story of the same name.

   Among the most diverse ritual and ideological instrumentalizations of the Luoshu magic square (from the sacred emblem of cosmic harmony to the requisite of a geomancer), the mobilization of this esoteric figure for the arithmetization of the cornerstone of all Chinese philosophy, the fundamentally non-verbalizable Tao, is dominant. The coding of the dao by the number 15 is reinforced by its spatialization, so that the entire “Document [from the river] Lo” appears as a map of the various trajectories of the Tao within this nine-field square. Moreover, the coincidence (in number 15) of differently composed sums appears as an inscrutable variety of paths leading to the same goal - the final implementation of Tao.

     By virtue of the validity of the equality 15 =mod10 5 the magic sum of the Luoshu square (Const15) immutably, although covertly (in the form of a number 5), centers the entire Luoshu configuration. This secrecy of the magical constant (the latter is absent in the entire observable space of the “Document [from the river] Lo”) refers to the hidden “back-side” of Luoshu numbers, represented by the number 10 (in its role as a modulus of comparison in the arithmetic of residues modulo 10).

      Judging by the directly visible, so to speak, ‘front’ part of the magic square of order 3, it is allowed to count only up to nine in it. But the already absent-present magic sum (number 15), breaking the seemingly inescapable circle of arithmetic of residues, brings to light the comparison module (number 10) as Luosh’s hidden ‘truth’, which alone gives meaning to the entire nine-cell construction. Awareness of this truth is the first step in the transition to the ‘register of truth’ of this extraordinary gestalt. The subsequent connection to it of problems focused by the Pythagorean theorem radically expands Luoshu’s ‘register of truth’.

      The geometrized arithmetic of the Luoshu magic square, which is a unique spatial-numerical fixation of the seemingly fundamentally non-objectivable Tao (i.e., combining the apparently incompatible) marks the possibility of a paradoxical union of Heraclitus with Pythagoras, successfully realized by the Chinese tradition.

Theoretical Discourse on the Problem of Socio-Cultural Adaptation of Migrants in the Modern World
Elnara Dumnova,  Viktoria Mukha
DOI: 10.17212/2075-0862-2022-14.2.2-380-394

The article presents an analysis of the modern theoretical disputes on the problem of socio-cultural adaptation of migrants in the host society. The main trends in the development of both foreign and domestic discourse are considered. In modern humanitaristics, two main trajectories of sociocultural adaptation of migrants have emerged: assimilation and transnationalism, which served as a criterion for structuring the most significant concepts.

 Sociocultural adaptation is a complex multidimensional process and has a singular character, which is reflected in the plurality of its possible scenarios. This is the reason for the research methodology presented by the synergistic and systemic approaches that allow studying various adaptation models of migrants in relation to a “fluid” social environment. The plasticity of modern society caused the nonlinearity of the adaptation process, which makes it difficult to identify patterns and fixed mechanisms of its course. In this regard, the synergetic approach made it possible to study the factors of choosing an adaptation model and the peculiarities of its implementation from the point of view of social consequences explicated at different levels of social organization.

A number of concepts are analyzed to identify exogenous and endogenous factors of the determinants of the adaptation model. These include motivation, type of migration, social expectations of the host community, and the involvement of a migrant in migrant social networks.

The comprehension of sociocultural adaptation is presented in the context of its influence on the process of transformation of the identity of migrants and the formation of new types of identity in the conditions of the recipient society.

The following possible trajectories of the formation of the identity of migrants are distinguished, depending on the choice of the adaptation model:

- firstly, the replacement of the object of identification while maintaining the existing type of identity as a result of the implementation of the assimilation strategy of adaptation. The result of this process is the identification of the migrant with the new culture and society, the feeling of being a part of them;

- secondly, in the case of plans for a short stay in a foreign cultural environment, there is a preservation of the existing identity;

- thirdly, there is a transformation of existing types of identity and the construction of new ones, replacing the previous ones, which reflects the transnational strategy of adaptation.

Religious Extremism as a Socio-Cultural Phenomenon: The Problem of the Ontological Boundary
Vyacheslav Dolin
DOI: 10.17212/2075-0862-2022-14.2.2-395-410

The subject of the article is the problem of the ontological boundary of religious extremism as a socio-cultural phenomenon. The methodological basis of the research is the non-classical linguistic semantics of Frege – Russell. Within its framework, meaning, concept and sign are distinguished for the subject of thought. This methodology complements the predominance of the activity approach in the research of religious extremism. Such methodological unilateralism creates the illusion of the scholastic nature of the investigated problem, when the scientific result is expected to comment, clarify and systematize the known knowledge about religious extremism. As a result, religious extremism is considered metaphysically as an unchanging phenomenon that has no spatial and temporal boundaries. This research was conducted in two stages. The first one highlights the essential signs of religious extremism. The traditional triad of signs “subjects, sphere of activity, implementation methods” is supplemented by the fourth: “the purpose of activity”. Based on the analysis, religious extremism is defined as extreme actions of religious elements in the political life of society, aimed against the structural elements and ideology of secular society. The article rejects the provisions on uncritical identification with religious extremism of the following social phenomena: violation of national legislation on freedom of conscience and religious associations; religious fanaticism; religious sectarianism; nationalism. At the second stage of the research, the spatial and temporal boundaries of religious extremism are comprehended. Spatially religious extremism is typical for both post-industrial and traditional societies of the second half of the twentieth and early twenty-first centuries. The article puts forward historical-religious arguments and an argument against the thesis of the timeless nature of the existence of religious extremism. Based on the formation of a secular society on the economic basis of an industrial society since the second half of the XIX century, four factors of the emergence of religious extremism have been identified: secularization of public consciousness; desacralization of power; inversion of violence; limited support. As a result of the conducted research, the metaphysical consideration of religious extremism as an unchangeable phenomenon has been overcome and its conceptual understanding has been deepened.

Dynamics of a Lasting Marriage
Viktor Zander
DOI: 10.17212/2075-0862-2022-14.2.2-261-282

This research in the area of social philosophy is a creation of an integrative theory, which addresses the question of what makes a marriage a lasting marriage. Sources of information are scientific results of different specialists in the field of close relationships and marriage. In the process of research and reflection, the following social-scientific theory arose: the dynamic of a lasting marriage is realised through such drivers as Meaning, Love, Commitment, Trust and Ritual. This dynamic is realised by interaction of these drivers. Love constitutes the foundation for all close relationships. The metaphysical basis, meaning, is necessary for the emergence and existence of commitment. Commitment fosters and encourages love as an attitude. Ritual is commitment expressed by actions and is responsible for loving actions. The most vivid and experimental of them is the sex act, in which all drivers of the dynamic of a lasting marriage are realised practically. It takes meaning from the highest purposes, such as morals, expediency, duty. Sex is an expression of love, and its repetition again and again is indeed a ritual. And in order to support the exclusivity, frequency and custom of this love and ritual commitment is crucial. For full realisation of sexual intimacy, which arises from love, ritual and commitment, we need trust. This way the sex act is an existential means for the interaction of all drivers of a lasting marriage.

            Contribution of this work consists in unifying already studied and known drivers into a joint structure, where each of them in its own right contributes to emergence, maintenance and strengthening of close relationships.

The newness of this research consists in the dynamics of interaction which creates an existential structure which maintains and fosters a lasting marriage, as an emerging property.

Philosophy of Love: Analytical Approach of Raja Halwani
Ivan Diatlov
DOI: 10.17212/2075-0862-2022-14.2.2-283-301

Philosophy of love as a subfield of moral philosophy and history of philosophy questions the very foundations of how people love each other. Within the philosophical debate, not only the sources of love but forms and types are questioned. Does the source of love correspond to a concrete form of love? What is the difference between parental love and friendship love? What is the main difference between romantic love and the abovementioned? A philosopher from Chicago, Raja Halwani made a methodological and pithy impact in the debate. On the one hand, his main achievement in the recent debates is the distinction between two kinds of love: romantic love 1 and romantic love 2. Halwani notes that the main disagreement among philosophers stems from the fact that philosophers usually don’t see this difference. And if philosophers would keep this difference in mind, it would clarify our debates. On the other hand, professor Halwani doesn’t propose a conceptual novelty but interestingly refines the current debates on love’s aspects. These debates are debates concerning the main characteristics of love and how we can defend these characteristics. Halwani clarifies the central concepts of romantic love such as “constancy”, “exclusivity”, “uniqueness”, “irreplaceability”. The philosopher devoted special attention to reflections upon how exactly we can apply existing moral theories to love. At the end of the article, an attempt is made to compound many of Halwani’s statements about RL1 and RL2 in a unified table.

Theory and Methodology of Value-Sensitive Design: Critical Analysis
Elena Seredkina,  Elena Shironina
DOI: 10.17212/2075-0862-2022-14.2.2-302-319

The paper is devoted to Value Sensitive Design (VSD). This approach, widely presented in foreign scientific and specialized literature, has not been reflected in the Russian-language discourse. The authors of the study consider the theoretical foundations and methodological tools of VSD, clarify the conceptual apparatus, and also carry out a critical analysis of some of its main provisions (in particular, the question is raised about the absence of a philosophical theory of values, the eclecticism of the modern approach, insufficiently developed methods of cooperation with engineers, designers and potential stakeholders). VSD is viewed in the context of technology assessment and socially responsible innovation. We are talking about a diverse set of practices for the rational shaping of technologies, taking into account the values of society, suggesting a more active and conscious involvement of ordinary citizens (not experts) in the discussion of issues related to the development and design of technologies. An understanding of values with an emphasis on ethics and morality raises the question of achieving a balance between competing values and choosing the desired values, taking into account the diversity of interests of direct and indirect stakeholders. In this regard, two main goals of the VSD stand out. On the one hand, it involves identifying and critically analyzing desirable or limiting values that have been (intentionally or unintentionally) inscribed into existing technologies. On the other hand, VSD offers practical recommendations on how to deliberately and purposefully inscribe socially approved values into the design of new equipment, software, databases, and algorithms. Finally, the article defines the directions of possible applied research: (a) the development of the theory and methodology of change management through structuring the change management process according to the hierarchical principle of interaction, as well as identifying persons and groups that are affected by organizational changes and how; (b) fundamental aspects of human-machine interaction, in particular, human-robot interaction (HRI), which is of great practical importance for the design and production of socially responsible service robotics.


The Ontological Foundations of Musical Creativity
Ilya Makarov
DOI: 10.17212/2075-0862-2022-14.2.2-320-337

In the system of classical arts, music has always been perceived as a human actional breakthrough to understanding the Universe. The musical language, considered as a cultural universal, is the basis of intuitive cognition, a felt view of the axiological unity of Truth, Goodness and Beauty. The article offers an analysis of the formation of the main philosophical theories of the ontological nature of musical creativity in their historical continuity.

In the history of ideas, the phenomenon of musical creativity has been perceived as a special kind of revelation. This reveals the obvious importance of the aesthetic approach in understanding the transcendental world; the objectified connection of man with ontological processes. Modern theories of universal evolutionism represent the development of the Universe as a single system based on the unity of its laws. It is in our time that comprehension of the essence of musical creativity opens a fundamentally new page in the philosophical understanding of the centuries-old history of music. The key point is the idea of the Μελῳδός aspiration to the Λόγος, the tendency to move from particular theoretical constructions and critical assessments to considering the phenomenological foundations of music, fundamentally presented, in particular, in the works of A. Losev and T. Adorno.

In the XX century, there was an obvious surge in the formulation of generalizing musicological concepts, and it was in the XX century that the philosophy of music received qualitatively new worldview foundations for its comprehensive interpretation. In this respect, the study of the epistemological nature of musical creativity has reached, it would seem, its peak.

However, comprehension of the investigated theories allows us to draw conclusions only about the possible approximation of a true understanding of the essence of musical creativity as a special cognitive practice. This turns out to be possible on the methodological basis of cumulative generalization, taking into account the religious, aesthetic, cultural, psychological, educational and other approaches in comprehending the value of the “world of sound”.

Visual Representation of the Marine Theme in the Artistic Culture of Russia (XVIII-XX Centuries)
Maria Oleynik
DOI: 10.17212/2075-0862-2022-14.2.2-350-362

Тhe meaning of visual representation includes perception of information through the visual image. This form of information delivery to the general public was known in pagan cultures and asserted itself in Christianity. Since the late 20th century the concept of visualization united in itself not only religious and artistic images, but also the vision of mass culture. The performed research places emphasis on the establishment and the development of visual representation in Russia’s art culture of the ХVIII-XIX centuries. During the reign of Peter the Great, in a succession of state reforms and due to the influence of samples of European art, a transformation of national art culture occured. In this context, maritime art is viewed as one of the visual representation forms. The seascape, as a separate genre of painting, originates in the Dutch landscape. The first marinas were brought by Peter the 1st to decorate palaces and country residences. The victory in the Battle of Chesme (1770) and the joining of Crimea to the Russian Empire prompted Catherine the 2nd to invite J. P. Hackert to perpetuate the glory of Russian weapons. The artist became the first marine painter on Russian soil and performed a series of twelve paintings.

The flourishing of the national seascape in Russia took place in the 19th century. The first who took the post of artist at the Ministry of the Sea was I.K. Aivazovsky. Since then the seascape acquired special significance and perpetuates the sea victories of Russia. A subtle metaphysical meaning is present in some romantic landscapes by I.K. Aivazovsky. Sea battle paintings acquired clear realistic features in the painting of A.P. Bogolyubov. The artists are concerned not only with the image of the sea, but also with the architecture of the ship, which forms a separate painting genre: the ship portrait genre. The image of the ship in the paintings of the XIX-XX centuries combines the lines of scripture and poetry, focusing the attention of the viewer on a deep semantic reading of the landscape.

The SS Normandie as an Example of Art Deco Style
Anastasiya Dobrydneva
DOI: 10.17212/2075-0862-2022-14.2.2-363-379

The article is dedicated to ocean liners, the ambitious projects of the 1930s. The Interwar period was the golden age of transatlantic shipping, primarily due to technical improvements, for example, increased engine power and changes in ship hull shape. However from an artistic point of view, liners also proved to be an important field of application. Many European architects, sculptors, and decorators were involved in the design of the exterior of the liners and their interiors. Most of the masters who participated in the development of a special “liner style” were practitioners of art deco. The spectacular, varied art deco proved to be the most appropriate style, corresponding to the problems which had been set before the artists by the client companies. The subject of the research is to identify the relationship between the “liner style” of the 1930s and art deco, determining the place of the transatlantic liner projects in the culture of the XX century. The object of the research is the design conceptions in general, as well as works of art in the interiors of the liners. The author’s aim is to demonstrate the high importance of these projects for the understanding of the Art Deco era, to characterize the complex approach of masters to the design of liner exteriors and interiors, to consider and compare the most outstanding design solutions. The research methodology includes historical and descriptive, comparative methods, cultural, historical, and culturological approaches. The main attention in the article is given to the French “Normandy”, a recognized example of this style. To expand the context and the possibility of generalization, the focus is also made on two English liners: “Queen Mary” and “Queen Elizabeth”. Among the artists the author points special attention to a French master, Jean Dunant. Dunant’s panels made for the Normandy cigar lounge are considered examples of a decorative style, inspired by the exoticism of archaic or Oriental cultures.