The article considers the interaction of science and art, as well as the development of Science Art from the standpoint of the theory of self-organization and the theory of humanitarian-technological revolution. The world is at the point of bifurcation defining the future. The choice of the further trajectory will be largely determined by what is happening in the emotional and intuitive spaces. This, in turn, depends on the deve­lopment of art, science, philosophy. The article discus­ses alternative futures and the role of culture in them.

Charles Snow wrote about a gap between the two cultures — natural science, answering the question “How?” and looking into the future, and humanities, answering the question “What?” and often reflec­ting on the past.

The growing gap between the two cultures prevents the civilization from relying to the necessary extent on scientific knowledge and leads to its devaluation. The authors show the importance of the “exchange of metaphors” between science and art, allowing to build bridges over the gap of two cultures. Another way to connect these two spaces is the development of interdisciplinary approaches, in particular, the theory of self-organization, or synergetics. In the 1970s, synergetics was conceived as a language that allowed humanitarians, specialists in natural sciences and mathe­maticians to discuss, formulate and pose common problems, while remaining, nevertheless, in the space of science. Now the central interdisciplinary problem is the study of not only the rational (as du­ring the last three centuries), but also the emotional and intuitive space of human and society.

Currently, there are two forecasts materializing — the one of D. Bell, on the transition from the industrial phase of development to the post-industrial, from the world of technology to the world of people, and the one of N.A. Berdyaev, on the transition from the Se­cond Antiquity to the Second Middle Ages. The article shows how this will change the culture itself and its place in society.

The article is devoted to finding ways to overcome conservatism in cultural and educational practices, analyzing traditional and innovative cultural and educational experiences in modern education. The authors consider education as a phenomenon that has a dual nature, which is closely related to the development of cultural traditions and civilizational innovations. The article shows that in the conditions of social turbulence, unpredictabi­lity and uncertainty, constant acceleration in technological and social processes, the cultural and educa­tional practices are lagging behind the demands of modern society. Rooted in the core of the cultural and educational matrix, they restrain the development of our society, in which new generations, born in the conditions of information and digital revolution, have come. These generations have a different worldview, values, attitudes towards career, free time, environmental and safety issues. Their vital elements are the virtual world and the world of modern gadgets with all the ensuing consequences. Generational rift exacerbates problems in the education system, which is changing very slowly. New generations need to be taught not traditionally but taking into account their needs and new technologies. The article provides a number of concrete examples related to the points of growth of cultural and educatio­nal innovations, suggests a number of actions that can lead to formation of new higher education mo­dels that meet the demands of modern society, new type of universities called digital or universities 4.0. In addition, the authors draw attention to the fact that culture and education have similarities and diffe­rences in their nature and functioning. Culture and education are interdependent, which does not negate significant differences between them. Culture, by its nature, is a self-constructive system, and edu­cation is built in accordance with a specific goal setting. The authors consider that the best option is the one in which in the processes of interaction and, especially, interinfluence of culture and education, priorities will be on the side of culture.

The article considers the problems of cultural development of the region (Novouralsk Urban District), interests of the elite and achieving sustai­nability in interaction of the social groups in cultu­ral sphere. They are in line with the broad and relevant problem of implementation of the concepts of “sustainable” (“smart”) city, formed in the early 2000s. The article pays particular attention to the sociocultural po­licy of regions, which is considered in a broad sense, in the context of relations, norms and values cultivated in society and penetrating all fields of its life. The authors focus on the relationship of culture and quality of life. There are analyzed the assessment of factors and barriers to the implementation of positive practices of public-private and social partnership, which are gi­ven by officials of local government and business leaders. The authors give the data of the study conducted in the Novouralsk Urban District in 2017 — 2018, which reveals cultural interests of the municipal elite. People responsible for making decisions in the deve­lopment and implementation of the state cultural poli­cy until 2030 relate to this social category. The article summarizes the answers of 106 respondents belon­ging to this circle. The study results reflect such important characteristics as responsibility of the elite, influence of professionalism on the level of decision-making, human qualities, family and community relations, relations of personal devotion and patronage (which can influence on decision-making) in the organizations where the elite representatives work. More than 1,000 answers of the responding residents of the Novouralsk Urban District demonstrate the relative satisfaction of the closed city’s population with the activities of its cultural institutions.

The article substantiates the potential opportunities to ensure a consensus of interests of civil society, go­vernment and business in the formation of corporate policy strategies, as well as the elaboration and implementation of sustainable city development tactics.

This article aims to reconstruct the appearance of the gudok and some features of its performance, existence and functioning according to writings of Western European authors of the 18th century. Publications of J. Stäehlin, J. Georgi, J. Bellermann, M. Guthrie are the first experiments of purposeful study of Russian folk instruments. A detailed description of the gudok can be found there, which allows to recreate the instrument’s appearance, the specifics of its tuning, the ways to hold it, and its performing techniques.

The methodological basis of the study is represen­ted by the comparative-historical and structural-typological methods, which makes it possible to carry out an integrated approach to studying the problem, to analyze works of Western European researchers of the 18th century about the gudok in comparison with iconographic and archaeological materials.

The study results in identification of the type of gudok that was common in the Russian instrumental culture of the 18th century. The main features of its design are characterized by a pear-shaped body, a flat top deck with “C-shaped” resonator holes and a convex bottom (hollowed trough) flat stand, and a small wide neck without frets with a snail head, with three strings tuned to a fifth or a fifth and an octave, and a small bow. A specific feature of the gudok playing style was sounding the melody on the upper string with the background accompaniment of the two lo­wer bourdon strings.

The article for the first time presents a terminolo­gical analysis of the gudok’s names in original texts of Western European researchers of the 17th—18th centuries. In the notes of foreign travelers of the 17th century, the gudok was called similarly to the names of Western European bow instruments (“Geige”, “Bierfidler”, “Fiddle”). Authors of the 18th century used in their works the Russian word “Gudok” in its va­rious forms in German and French (“Gudok”, “Der Gudak”, “Guddock”, “Goudok”).

The specialists note and highly appreciate the openness to creative dialogue with different European and regional cultures in their works about the artistic history of France. In the introductory section, the article is focused on the importance of the opposite trend, developed in the 19th — early 20th century in all spheres of art. The purpose of the new movement is “national revival”, interest in the ori­gins of the great heritage of the French masters of past epochs. The author concentrates on the peculiarities of interaction between leading composers, musicians-performers and teachers with the traditions of music professionalism of the French compo­ser school. Furthermore, she explains the main reason of “back to the past” addiction by desire to preserve the unique distinction of artistic thinking in the terms of intensive cultural influences in Italy, Germany and Russia. The article provides the facts of creative activity of the leaders of “national renewal”. There are presented some journalistic statements of the leading French composers to confirm their unanimous recognition of the actual value of national classics to the future of French culture. There is explicated the pa­norama of creative experiments (C. Franck, C. Saint-Saëns, E. Satie, impressionists and composers of the “young generation”) on reconstruction of national traditions of distant epochs. The coverage of events and display of artistic phenomena of musical and cultural life of France allowed the author to form a context to consider the problem of aesthetic and stylistic character: new understanding of the phenomenon of “artistic tradition” and “dialogue with tradition” in the epoch of modernism. The comparison of diffe­rent forms of “dialogue with the past” in the Russian culture of the beginning of the 20th century and in creative works of the leader of European retrospectivisme I.F. Stravinsky gave grounds to use the concept of “passeism” to characterize the special French type of inheritance of the “lessons” of the predecessors. Introducing the concept of “passeism” in contrast to the accepted in Russian musicology “musical neoclassicism” and giving reasons of the effectiveness of its application, the author seeks to identify the idea of preser­ving soil foundations of tradition as a way of national self-identity (prosody, rhetoric, form) pertaining to the French composer school.

The article studies the problem of interpretation of literary source in visual creative work of A.N. Benois. There are identified and analyzed new sources of his works — historical novels by A. Dumas, père. The question about the role of the novels by Alexandre Dumas devoted to the history of France of the 17th and 18th centuries in creative work of Alexandre Benois has never become the object of research. The re­levance of this article is determined by this fact. The scientific novelty of this article lies in revea­ling new literary sources of creative work of A. Benois — Dumas’s novels “Joseph Balsamo (Doctor’s Notes)” (1846—1848), “Louis XIV and his Century” (1844), “Louis XV and his Epoch” (1849) — and determining parallels between them and art practice of the artist: painting, graphics and art of book. The author analyses content of the ar­tist’s memories, his literary works, diaries, as well as diaries by E. Lanceray, and complements these information details by a comparative textological analysis of Benois’s memoirs and Dumas’s no­vels in Russian translations. This method allows to deepen the formal analysis of A. Benois’s works (primarily the two Versailles series) and partially reveal the mechanism of complex figurative synthesis in the artistic consciousness at the turn of the 19th—20th centuries, on the basis of which they were created, to expand the existing perceptions about the literary sources of the artist’s creative work. The author concludes that the no­vels by Dumas “Joseph Balsamo”, “Louis XIV and his Century” had an influence on the artist’s perception of the theme of court culture and Versailles in the historical, cultural and natural aspects. It was reflected in the appeal to the plot of “fish feeding” in the late 1890s, in the formation of the images of Versailles and King Louis XIV in old age. The article also finds that the novel “Joseph Balsamo” had an influence on Benois’s creation of Trianon’s everyday image in the past. At the same time, the artist turned to the interpretation of the image of Marquise de Pompadour as “sultana” under the influence of Dumas’s novel “Louis XV and his Epoch”. In addition, the three musketeers — characters of Dumas’s novel with the same name — are placed in the drawing of the title page of Benois’s “Versailles” album. It is important that it does not come about direct illustration of the novels, but about an artistic process of creating a figurative system of images and forming the artist’s stylistics.

The article is devoted to the issue of functioning of postmodern techniques in mo­dern pop music. The authors analyze the most striking of them on the basis of some selected songs. This paper is relevant due to the lack of detailed research on the issue of postmodernism in mo­dern popular music despite the fact that, in the mo­dern paradigm of humanitarian knowledge, postmodernism as a cultural phenomenon is becoming a promising scientific direction. Scientific novelty of the article is determined by the fact that it begins the process of systemic understanding and analysis of the situation on the music stage. By the example of modern pop music, the authors show that, despite the crisis of culture caused by the advent of the postmodern era, any transitional state is an impetus for searching and finding new aesthetics. The article summarizes theoretical aspects of postmodern discourse concerning those techniques that fall into the field of view of researchers (intertext, meta-field, simulacrum, deconstruction, S-code, etc.). Based on the opinion of famous scientists, the authors introduce the conceptual apparatus necessary for the subsequent analysis of the topic. The article presents and analyzes some of the most characte­ristic techniques of postmodern stylistics in the music of popular Western and Russian performers (Alice Merton, “Baha Men”, “Maroon 5”, F. Kirkorov, A. Vorobyov, L. Imangulova, and T. Shamanina). There are noted some cases of intertextual refe­rences and peculiarities of their work in newly created songs, as well as such techniques as mash-up, remake, etc. Therefore, this paper, to some extent, fills the gap in the study of the issue of postmodern in modern popular music.

The article represents a review of “Applied Cultural Studies” Encyclopedia edited by Doctor of Philosophy, Professor I.M. Bykhovskaya (Moscow, “Soglasie” Publishing House, 2019) and dedicated to conceptualization and systematization of research studies in the sphere of applied cultu­ral studies. They are represented in problem-subject units, conside­ring different levels and spheres of this field of know­ledge: from theoretical and methodological contexts of development of applied studies, comprehension of scientific tools, concepts of cultural studies and sociocultural space as a subject field, to social practi­ces in cultural studies dimension. The review reflects the structural and substantive parameters of the publication, features of theoretical and empiric material, genre specificity and symbolic constituent. It gives appraisal of the encyclopedic publication and reveals its unicity and scientific significance. The publication is regar­ded as strong contribution in contemporary cultural knowledge, its outreach and widening spheres of applying. The Encyclopedia is presented in the context of already formed tendencies of comprehension and research of the scientific field as well as in terms of a new stage of development of cultural know­ledge confirming itself not only in the light of theoretical-methodological and historical-cultural research but in the area of social space and practices. The publication is considered as a multidimensio­nal and multifaceted work represented by magnifical writing staff from different Russian cities. Herewith, it is an integral, conceptually structured book, which compares favorably with many other refe­rence publications. Being focused on funded comprehension of cultural processes and events, on attracting the attention of humanities scholars, lecturers and university students to the problems of applied use of cultural know­ledge, this project represents a complex encyclopedic publication integrating theore­tical-methodological base with reference material and the author’s approach.

The subject of this article is the role and place of music store as a phenomenon in cultu­ral history. It is located “at the intersection” of historical and socio-cultural musicology but it has not been previously studied from this perspective. The relevance of the topic is related to the fact that the study of the music store phenomenon in all versati­lity gives an opportunity to have a new look at different aspects of musical and social life: history of performing art, concert practice, music management, development of music instruments, book and music publishing. It covers the emergence of music stores (based on bookstalls with an expanded pro­duct range, publishing houses, factories for production of musical instruments); their locations as well as different aspects of functioning (including in the system of music management, edu­cation and enlightenment). On the example of the most famous stores of Moscow and Petersburg of the end of the 18th — beginning of the 20th century, it is shown that music stores played a strongly pronounced culture spreading role in the history of Russian culture. In particular, reading rooms and libraries were organized at music stores; concerts were organized with their mediation; skilled staff of the music industry grew in their depths. There is noted that the cultural function of music store was particularly evident in the provinces where it would become a noticeable cultural and intellectual centre. The article indicates main directions of further research in this and related fields of knowledge; traces the fate of this institution in our days: changing the forms of work, going from offline to online space.