In the year of the 300th anniversary of the birth of I. Kant, the authors of the article turn to some basic provisions of the philosophical anthropology of the German thinker in connection with the social demand for the development of a consistent state cultural policy in Russia, focused, on the one hand, on creating conditions for the self-determination of the individual, the realization of his creative freedom, and, on the other, on strengthening social solidarity and actualizing the consolidating potential of the cultural core of Russian culture. The text problematizes, from the point of view of the modern cultural situation, the idea of man as the starting and ending “point” of goal-setting for individual and social action; the Kantian interpretation of freedom and its boundaries, the social nature of the “self-concept” are actualized.

Analyzing the possibilities of adapting the Kantian method and its anthropological attitudes to the modern discourse of state cultural policy, the authors of the article focus on the conceptual rigor of I. Kant’s philosophy. Terminological certainty, according to the authors, is an important task not only of scientific discourse. It is no less important in the development of official state documents. The changes taking place in modern culture require the “tuning” of conceptual tools and the creation of explanatory models adequate to the observed cultural changes. The pragmatic meaning of clarifying scientific terminology at the level of the official discourse of state cultural policy lies, in particular, in the ability to take into account and differentiate two important vectors of human self-determination and self-realization in modern culture. On the one hand, this is the process of forming a common civil identity based on conventional cultural values, and on the other hand, the constantly multiplying practices of individual self-presentation, various forms of identity simulation, imitation and mystification.

The aim of the article is to describe the objective situation in the sphere of scientific and educational communications of libraries through social media on the example of the activities of a particular library from the perspective of intercultural interaction. Based on the fact that the communicating parties in these processes are scientists — carriers of scientific culture — and the general public, representing the culture of everyday life, the approach is implemented, in which scientific and educational communications of libraries are considered as an intermediary participation in intercultural interaction. An analytical cross-section of the work of the State Public Scientific and Technical Library of the Siberian Branch of the Russian Academy of Sciences (SPSTL SB RAS) in the field of science popularization through the publication of relevant content in social media is shown. Data collection was conducted using the Brand Analytics monitoring and analysis system in the period from July 28 to August 10, 2023. There were 28 mentions of SPSTL SB RAS in posts related to science popularization from 12 authors, with an audience engagement index of 211. The issues of audience engagement, content quality and its uniqueness due to the territorial aspect — Siberian science — are highlighted. It is noted that compared to large youth entertainment projects, the library has difficulties in attracting a wide audience to its content, the classical-academic style of which is less appealing to users, as indicated by the relevant metrics, in particular, the number of views. The focus on Siberian science may also be a limiting factor in the mass demand for popular science media content of the SPSTL SB RAS, but at the same time it makes its chosen niche in science popularization unique and creates additional opportunities for the development of this area of activity. The insignificant number of positive messages (7.1%) and their low potential reach (no more than 1,000 users), as well as the lack of active participation and dialogue on the part of users (no response messages and comments to posts) require libraries to intensify the attraction and retention of the target audience. As a result of the analysis, the author concludes that it is important for the library to work as a cultural institution focused on the development of a knowledge society. In addition to preservation and dissemination of information, the sphere of libraries’ activities should be complemented by the work on popularization of scientific knowledge, especially in the context of increased communication capabilities of libraries and diversity of content.

The last three decades have been marked by a surge of interest in 19th century photography, which has made it a full-fledged participant of the art market and, more importantly, the subject of research activities of a wide range of specialists: cultural historians, philosophers, art historians, restorers, chemists and physicists. By setting different goals and using the scientific tools of their field of knowledge, they contribute to the understanding and preservation of photography as one of the key components of the historical memory of mankind. To date, Russian scholars have introduced a significant number of new works of early photography into the scientific turnover. The close interest to daguerreotypes from collectors, which led to the increase in prices on the antique market, was largely due to a number of scientific studies, which found expression in publications and the organisation of exhibitions.

The present article is devoted to current issues of research practice involving the study, attribution and conservation of photography as a material object. These processes are among the primary tasks of specialists working with arrays of photographic materials of different historical and cultural significance in museums, archives and libraries. The importance of the development and testing of new methods of studying monuments within the framework of the formation of the domestic experience of studying photography is noted.

For the first time, the question of the reliability of the approach, due to which written testimonies act as the main sources in the attribution of a monument is raised: often used as a starting point of expertise, they may later (in a comprehensive study) contradict the data of other scientific methods. As a result of the study, contradictions between written historical evidence (textual information) and the data of a complex scientific analysis of early Russian photography have been revealed; a comprehensive methodology for its attribution by museum specialists has been proposed.

The article presents the history of graphic design through the optics of one of its tools — photography. This approach makes it possible to talk about a special branch of the evolution of photography, namely photography in design. Being on the territory of design in an applied role, photography presents incredibly beautiful examples of design, ideas and visual communication. As a tool for the designer on par with type, colour and composition, photography brings something unique to design in every period under consideration. It flexibly integrates into trends, responds to the visual demands of the historical moment, wins the love of the viewer, is convenient and practical for professionals, and is easily interfaced with industrial technologies.

The article is structured by decades (from 1890s to 1960s). The change of creative generations, the maelstrom of historical events of the 20th century, as well as the wide boundaries of the design community that influenced the development of photography in design (Europe, USA, Russia) make this periodization acceptable in order to discover and describe the key features. The search for unique manifestations of photography’s capabilities at each historical stage became the aim of this paper.

The article covers the period of analogue photography formation. In 1890 we can already speak of the early influence of photography on graphic design objects, and the 1960s comes with the invention of digital photography. The key characteristics of each decade are identified and the evolution of tools for working with photography is revealed.

Theoretical and practical significance of the article consists in studying and analyzing the techniques of designers’ past experience of working with photography, which in turn can help modern graphic designers. The novelty of the paper is due to the lack of a full-scale study of photography as a tool of graphic design. This paper partially fills this gap in scientific knowledge.

The Russian State Library (RSL) holds a photographic album of 87 Chinese view images, dated 1876 and erroneously attributed to the St. Petersburg photographer N.A. Ermolin. The present article publishes the results of the research which showed that in reality this album was probably collected by the Russian traveller, writer, doctor and amateur artist P.Ya. Pyasetsky (1843—1920) during the scientific and trade expedition of 1874—1875 to China, organized by the Russian government for commercial, reconnaissance and scientific purposes. P.Ya. Pyasetsky, attached to the mission as a scientist and medic, during the journey acquired, by his own admission, a number of pictures from the British photographer W. Saunders, who had settled in Shanghai after the Opium Wars of the mid-century. Upon P.Ya. Pyasetsky’s return home, N.A. Ermolin reshot (with his permission) the photographs purchased in China and began to distribute copies on the market. A collection of such copies is probably in the Russian State Library.

The article shows that the authorship of the original photographs from the album actually belongs not only to W. Saunders, but also to many other Western photographers from Great Britain, America and Australia. It is established how they got to P.Ya. Pyasetsky; why he needed to compile such an album, given that the expedition had a staff photographer; how P.Ya. Pyasetsky, being an artist and organizer of art and ethnographic exhibitions, used the photographs he bought.

The article presents consolidated and analyzed information related to the existence of the house of the architect I.F. Nosovich, gives an assessment of the authenticity of the preserved object. Currently it is classified as an object of cultural heritage of regional significance, but a number of factors that are not taken into account and not mentioned in the scientific literature, significantly affect the status of the monument. These include the process of construction, use and building relocation to a new place with losses. The conducted research, and stylistic analysis of the original and existing today object allow determining the cultural value of the Nosovich House and actualize the issue of its protective status. It is proposed to consider the house as a special phenomenon within the framework of provincial architecture, which will expand the boundaries of scientific knowledge and draw attention to the architects’ houses, which are located in the province and still remain insufficiently studied. For the first time, the foundation material related to the Nosovich House is reasonably introduced into the algorithm of gradational typology of the concept “architect’s house”, which allows us to determine the value of the object, defining it as a type of ideological-creative and ideological-aesthetic design.

S.A. Zverev (1900—1973), a storyteller, a connoisseur of traditions and a promoter of Yakut culture, is used as an example of his work to examine the forms of preserving authentic forms of folk art and reconstructing ethnic performing specifics. On the border of Nyurba and Suntar there are places connected with the history of his family, here he was brought up, his talent was recognised for the first time and his creative activity began. The influence of the above on his creative work is undeniable, but has not been investigated. The experience of interpreting the interviews of three respondents from the Nyurba district to determine the ethnography of space and places of memory in the authentic forms of folk culture, the keeper, initiator and translator of which was Zverev, is presented. Some provisions of the theory of social production of space, as well as the theory of memory place, considered as a symbolic tool connected with the reality of the past and as a source of meanings, are used. The research methods can be applied as a conceptual basis in solving private and fundamental problems of regional culturology, art history, in the reconstruction of folk music, dance art, etc. The substantiation of the impact of cultural memory on the formation of ethnic identity in the mode of anniversary commemorative practices is proposed. An example of relations: author – text (establishing the reality of the work) at the stage of cultural transition from non-written to written forms is considered. The article describes and analyses the process of folk dance reconstruction taking into account local ethnic specifics. The prerequisites for the reconstruction of authentic forms of folk art are defined and S.A. Zverev’s personal contribution to the preservation of traditional values is partially described. It is determined that memorial practices in the process of identification construct and permanently edit the ethnos’ representation of itself.

Since ancient times, folk art culture has defined the norms of behavior in society, modelled relations between different generations, and contributed to the formation of values and ideals of the individual. The modern Russian state, built on the principle of national and cultural diversity, is aimed at the revival and preservation of each nation, cognition of its history and development of national and ethnocultural identity in today’s rapidly globalized world.

The article focuses on family traditions, which occupy a special place in the development of folk art culture and folk art. Often they contribute to the formation of professional dynasties, which ensure the succession in the family from generation to generation of the substantial component of the professional activity in which they are engaged. The purpose of the article, which actually opens a new direction in the interdisciplinary research of folk culture, ethnocultural education and creativity, is to reveal the contribution to their development of theorists and practitioners – representatives of various dynasties. Detailed biogra- phical materials about Olga Vladimirovna Kruglova and her niece Galina Lvovna Dain, whose contribution to the scientific folk art and cultural studies school can hardly be overestimated, are presented.

Revealing the inheritance of value qualities by representatives of family and clan, which can be seen in the Kruglov-Dain family and other dynasties, the authors of the article open unique pages of the formation of the folklore group and the Museum of Folk Culture at Moscow school No. 709, the Children’s Academy of Russian Culture functioning on the basis of Moscow school No. 1579, as well as the Tver branch of the A.N. Kosygin Russian State University, implementing educational programmes “Folk Art Culture” at different stages of the additional education system.

The conceptual ideas that are embodied in specific institutions that promote traditional folk culture and are connected with dynastic inheritance in the field of folk culture are considered. The information is presented about the family dynasties of S.A. and V.I. Sitnikovs, L.V. and A.S. Efimtsovs, Velichkins — Rezanovs, who laid the foundations of ethno-art education, organically combining museum pedagogy, scientific ethnographic expeditions, historical reconstructions of folk calendar holidays and rituals — and everything that follows the paradigm of systematic immersion of the younger generation in folk art culture.

The historical context of the stated problems coincides in time with the processes of formation of the classical model of thinking in science and various spheres of artistic creation, as well as with the emergence of the primary system of dance notation — orchesography by Tuano Arbo (1520—1595).

The scientific structure of plastic thinking in choreography has not yet exist in the modern world. The author’s concept is developed, which is based on the idea that the whole history of dance art development can be presented in the form of plastic language codes: “thinking and dance”, “thinking in dance”, “thinking by dance”. The author’s classification of the language of corporeality and plastic structure of movement in the Middle Ages is proposed with the possibility to connect these phenomena with thinking in choreography and to present plastic thinking as an ability. The study specifies that the paradigm of ancient culture and art does not disappear during the Middle Ages. It lays the foundation of the trinity of laws for all times and peoples: physical, spiritual and mental are not three, but one beginning in man. It is around this paradigm of trinity that the architectonic structures of corporeality, the foundations of dance theory and the subject of choreography of subsequent epochs will revolve.

The hypothesis of the research is multifaceted in its scientific addressability. It contains ontological forms and specifics of the emergence of the phenomenon of choreography, morphological and typological features of heterogeneous dance environments. For the first time within the art history dimension, the aim is to substantiate the artistic representation of thinking in choreography in the Middle Ages, as the specificity of scientific, artistic and cultural picture of the world of this time continues to develop the concept of the linguistic plastic code “thinking and dance”. The tasks of searching for value connotations of Antiquity and finding artistic connections with the Middle Ages are considered. It is actualized that in contrast to Antiquity, a new model of bodily and linguistic (including compositional) type of thinking is formed in the Middle Ages. It is determined that the tasks of comprehending the mental mobility and cultural and historical landscape in the dance space of the Middle Ages are inextricably linked with the traditions and innovations of European historical heritage.

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