No 4 (2022)

The article deals with the problem of defining a term in the theories of terminological planning and the influence of the identified approaches on the organization of a student’s terminological work in the context of smart education. The aim of the article is to determine, in the context of smart education, the ways of a student’s terminological work depending on the interpretation of the term in the considered theories of terminological planning (General Theory of Terminology (GTT), Communication Theory of Terminology (CTT), Sociocognitive Theory of Terminology (STT), Frame-Based Terminology (FBT)). The article contains three sections: “Smart education: On the concept”, “Theories of terminological planning: The factor of the concept”, “The concept of the term, visualization and smart education”, expressing the authors’ sequence of consideration of the questions posed. The first section analyzes smart education as a concept. The latter is considered as a format of education whose key characteristic, according to the authors, is the maximum degree of the student’s independence in the development of knowledge and modern information technology. The knowledge acquisition system is interpreted through terminological work and terminology designation problems. The authors have established that the concept plays a key role in the definition of the term, since its status determines the status of the term. In the considered theories, there is no single way of understanding the concept and the term, and, consequently, the way of designating the term. The second section characterizes the main theories of terminological planning and features of term understanding and terminological work in them. In GTT, the concept is characterized as a specialized concept, in the context of which the meaning of the term is determined (according to the rule, one concept for one term). CTT uses the term “terminological unit”, which consists of three components: a unit of knowledge (concept), a unit of language (term), a unit of communication (situation). STT uses the concept “unit of understanding”, which can take the form of a category (repeated meanings of concepts) and the form of a concept (unique value). In FBT, the meaning of a term and concept is defined through a frame and its structure, represented by a conceptual component (nouns are used to express the static meanings of the term) and a predicative component (verbs are used to express the dynamic meanings of the term). The third section discusses the role of the concept “term” as a means of visualization, through which the student is able to understand the degree of comprehension of the term when learning. For smart education, it is important that, in the context of GTT, the student should only learn the special meanings of terms and does not take part in their formation; in the context of CTT, STT, FBT (differently in each), the student plays a decisive role in the formation of the meanings of concepts and terms. The key role in terminology designation is played by the mechanisms of visualization and conceptualization, presented as processes of a multi-level alternating change of the considered operations when working with concepts and terms towards greater abstraction of the latter.

The article analyzes the problem of the correlation of traditions and innovations in modern architecture in Japan. The problem of preserving architectural identity has become especially relevant in the context of globalization. The uniqueness of modern Japanese architecture consists in the effective explication of traditional aesthetic principles in visual art, whose development is inevitably determined by the socio-historical context. The traditional aesthetic principles which were formed in the Middle Ages and have preserved their significance and influence on the modern socio-cultural space of the Land of the Rising Sun are considered. Among them are the principles of mono-no avare, yugen, wabi, sabi. These principles reflect the traditional Japanese worldview and peculiarities of thinking, since they go back to the traditional religious and philosophical teachings that have spread in Japan. Their visualization by means of architectural techniques is especially significant because it allows us to maintain socio-cultural continuity and the connection of times. They are the elements of the modern aesthetic paradigm on the basis of which architecture develops, they determine the formation of codes of architectural space. The most important is the aesthetics of wabi-sabi, which has combined two principles. It defines moral qualities as well as their visualization in material culture, particularly in architecture. It underlies the simplicity and incompleteness of forms close to emptiness, proximity to nature, appeal to the inner essence of things that are inconspicuous externally, the value of damages reflecting the course of time and events in the past. Japanese minimalism originates in the aesthetics of wabi-sabi. Taken together, these aesthetic principles form the quintessence of the Japanese worldview, which is notable by contemplation and positioning of nature and man as a unity. Visualization of this aesthetics in architecture has proved to be achievable through the use of natural materials (wood, bamboo, rice paper) and planning of residential space. New trends have been developed in modern Japanese architecture, including minimalism and metabolism. Despite the influence of Western architectural patterns, representatives of the trends managed to preserve architectural identity by forming new architectural styles. This turned out to be feasible due to the flexible balancing between traditions and innovations, and their effective synthesis. The main architectural techniques that are the conductors of tradition in modern architecture are considered: (a) positioning of architecture as a continuation of nature, which is the reason for special shaping; (b) embodiment of traditional aesthetic principles through elements of architectural space – emptiness–gap–shadow; (c) combination of traditional and modern materials. The article presents a semiotic analysis of several architectural objects: the Museum of Modern Art, Hiroshima, architect Kisho Kurokawa; Global Loop, EXPO 2005, Aichi, architect Kiyonori Kikutake; Church of the Light, Ibaraki, architect Tadao Ando; the Water Temple, Awaji, architect Tadao Ando. The analysis demonstrates some spatial codes that reveal the deep iconic and symbolic wholeness of architectural objects, reflecting the amalgamation of traditional and modern consciousness of the Japanese.

Depicting and viewing images are closely related to imagination, a fundamental characteristic of human intelligence. Imagination relies on all the sensuality of a person, but the visual component plays a special role. The progress of digital technology today makes it possible to produce images, but it turns out that one still needs some experience of traditional drawing/painting and also a philosophical understanding of the circumstances leading to the figure of the Homo pictor. There is a double connection between landscape and drawing. A depicted landscape is often regarded as an aesthetic event; it becomes the subject of art studies. However, one can pay attention to the fact that drawing/painting unfolds inside the landscape, and the resulting image is already an artifact, an ontological event related to the level of being. Research of the Homo pictor is not a narrow field of aesthetic experience and artistic education, it is a problem of philosophical anthropology. The latter, relatively speaking, investigates the nature of human beings, their historical development in practice, cognition, communication. The common Latin expressions specify different projections of the species Homo – sapiens, faber, ludence, symbolicus, etc. Homo pictor in this series means a “person drawing/painting”. Under what circumstances and for what tasks did this ability develop? To clarify the general problem, consideration of a number of subordinate questions can help: What aspects of human bodily incarnation are the parameters of the landscape surrounding people associated with? How is Homo pictor (a drawing/painting person) and Homo loquens (a speaking person) related? What changes does drawing/painting make in the landscape space? Depicting continues the Homo faber line; however, the final product is not a material result, but new media, whose meaning is to be an intermediary between a person and his/her world. An image is not a goal, it is a medium. It is not enough to open one’s eyes to see an image, one needs to have a depicted image that will act as an eye-opening in a new way. The idea of intentionality is the most important for understanding imagination, hence the importance of the methods of phenomenology that reveal the dialectic of the connection between the experience of creating and viewing an image. The article discusses the ideas of the phenomenologist Hans Jonas, whose works are not well known in Russia. Homo pictor is driven by not only cognitive, but also affective motives, hence the importance of research on emotions and feelings. The work of the neuroscientist Antonio Damasio shows the role of maps, neural network schemes, patterns underlying bodily movements and gestures that act as the basis of emotions and feelings. Schemes or patterns outside of an image remain at the level of the nervous tissue. But patterns can be objectified in movements, gestures, traces of lines and spots on some surface. An image is an externally rendered pattern of perception that can serve as a medium, a basis of emotions and feelings. The problem of drawing/painting in philosophy confronts both ancient problems of the relation of eidos and reality, and new problems concerning the connection of the cognitive and the affective in the experience of physicality, the connection of the presentative and the representational in the experience of vision. Homo pictor’s research concerns a number of positions that prompt questioning of the main dichotomies of modernity; these studies open up new horizons in understanding human creativity.

This article analyzes a real situation that once happened with the famous artist and art theorist Johannes Itten and his students at one of the classes of his preparatory course (Vorkurs) at the Bauhaus, a school of design, architecture, and applied arts that operated in Germany from 1919 to 1933. The situation reveals the optical duality of the visual field of the still life. The aim of the study is to clarify the nature of two different concepts of vision – image-depiction and lively-depiction. The methodological basis of the research is set by the philosophy of language, the analytics of visual practices, the philosophy of action, practical philosophy with elements of Kantian aesthetics. The study shows that the image as a schematizing way of representation plays the role of a tool for seeing possible rather than real objects. On the contrary, in the lively-depiction experience, actions themselves become the source of vision. In the field of visual practices, it shifts the analytical priority from linguistic structures (as a universal way of ordering image elements) to the world of direct practical actions of artists, allowing them to go beyond the usual contemplative ways of representation. As a result of the study, the author revealed the characteristics and differences between the image-depiction and lively-depiction concepts as two different visual modes of modern artistic optics. Conclusions are formulated about the role of a practical resource in the reconstruction of vision as “what is”, and not “what may be”. In the field of visual practices, the concepts’ fluidity becomes an important object of study; its nature shows in various lively-depiction aspects, such as plasticity, variability, action, reaction, intention, state, as opposed to purely image-depiction aspects, such as contemplation, scheme, technique and observation. The process of lively-depiction vision is directly related to the mobility of the environment through which our eyes pass; therefore, the quality of the movement itself acquires special significance here, taking on the role of a sign of the changes taking place in the environment. Accordingly, lively-depiction is pure intention, or action itself, while image-depiction is rather a ready-made tool or a scheme for which the technique and accuracy of execution are of the greatest value. The emotional structuring of the visual field of a still life is not reduced to simple mechanical actions of agents (as was shown in the drawings of Itten’s students) but manifests itself as a heterogeneous dynamic set of their living reactions that can form tendencies of artists’ sensuality rather than strict rules for representing still life objects. The emphasis on the practical component of visuality provides interesting material for interdisciplinary research, helping to focus on the very process of formation of various types and forms of visibility.