А.А. Володько

Bio: А.А. Володько is an academic researcher. The author has an hindex of 1, co-authored 1 publications receiving 170 citations.

Индикаторы качества светодиодных осветительных систем, применяемых в стоматологической практике для местного освещения операционного поля

Abstract: The currency of the research consists in the necessity if rethinking of the notion of culture in Russian contemporary thought in order to present more adequately the process of development of culture in a future. The paper aims to elucidate political origins of the movement of Proletarian culture that play the leading role in a creation of a new conception of culture. As a materials were used documents and archives, scientific paper of Russian and foreign researchers. As a maim method was used problematicanalytical reconstruction, explored in the framework of an enactive approach that allows to envelop the subject in its evolvement and to concentrate on concrete practical situations of its realization. Such reconstruction permits to accomplish the original interpretation of the problem. The authors focus in the pre-history of the movement. Analyzing the social-political context of the origin of the movement, the authors come to the conclusion about artificially created necessity of political enlightenment of the society by the revolutionaries. The paper demonstrates how agents of proletarian working circles manipulate by the public opinion of working class. As a result, the paper shows the process of formation the ideology of cultural movement revolutionary period and evaluates significance of ideological function in its realization. The authors produce critical evaluation of the history of the movement in original judgment about political grounding of culture.

Frustration and Aggression

Abstract: EIGHT members of the Yale Institute of Human Relations have co-operated to produce this book The result is not a mere juxtaposition of uncoordinated viewpoints but a unity of aim and consistency in presentation which make the multiple authorship almost undetectable Whatever judgment one may make about the value of the hypothesis elaborated in the book, there can be little doubt that the intimate collaboration of a team of specialists, each with a distinctive training, is a profitable way of examining a problem which has no clear-cut frontiers and which does not fall neatly into one of the conventional compartments of social study Frustration and Aggression By John Dollard Neal E Miller Leonard W Doob O H Mowrer Robert R Sears, in collaboration with Clellan S Ford, Carl Iver Hovland and Richard T Sollenberger (International Library of Sociology and Social Reconstruction) Pp ix + 150 (London: Kegan Paul and Co, Ltd, 1944) 10s 6d net

The Conscious Mind

Abstract: Susan Goethel Campbell’s exhibition Field Guide explores the nature of art and the conceptual process through a multimedia installation that also reflects upon temporality, art history, ecology and science. Introduced with a time-lapse video of weather patterns captured by web cam over the course of an entire year, atmospheric effects assume the quality of translucent washes that blur distinctions between opacity and transparency, painting and technology. Aerial views of built environments set against expansive cityscapes present essential imagery for large-format digital woodblock prints realized in monochromatic tonals and saturated grids of yellow and blazing orange. Some combine undulating wood grain patterns with pinhole perforations to admit light; others consist of diaphanous walnut stains applied to hand-crafted paper, a self-referential allusion to art’s planarity and permeable membrane. The evanescence of these views is echoed in pristine impressions of filtered dust and shimmering milkweed assemblages contained in Plexiglas light boxes. Known as Asclepias, milkweed is an herbaceous flower named by Carl Linnaeus after Asclepius, the Greek god of healing, due to its efficacious medicinal powers. Like the weather, the milkweed’s reflective silver filaments respond to shifting currents of air paired with gently wafted treetops projected in the viewing room. Here pearls of light corresponding to the spheres and pinpricks of the prints on the walls float randomly over the fictitious frame of a cubical vitrine. Orbs appear and disappear amid nocturnal shadows as figments of the imagination, their languid dispersion eliciting not-ofthis-world sensations of suspension, ascent and transcendence. This joined to the mesmerizing stillness of a gallery pierced occasionally by the sound of supersonic aircraft, a reminder of the machine in the garden. Beyond, the history of landscape photography and the Romantic sublime are encoded in works titled “Old Stand” that render minuscule figures of stationary box photographers against the grandeur of ice-capped Rockies. In some of the works the human figure is effaced as a historical memory through exquisitely modulated rubbings whose unbounded spatiality contrasts with the reflexive interiority of the viewing room. Campbell’s incandescent vision of nature asserts the phenomenal power of art to elevate the human spirit in the presence of heart-stirring beauty. It dares to reaffirm the timeless union between the material and immaterial substance of the universe, between human life and the ephemera of the natural world. f i l m