Abstract: The paper is focused on the categories of "place" (space) and "time" as categories of culture. Being qualitatively painted, they change in the context of these or those communication technologies (media). The major technology such is the cinema: it modifies space and time in perception of audience. The changed temporal substance as audience's experience in connection with the cinema was analyzed by a lot of scholars. In the present article we attempt to connect the concepts "location" and "temporal structure" in the point of cinema as cultural phenomenon. We use the phenomenology as research method allowing to describe a phenomenon of cinema as data of experience of the perceiving consciousness. Among the main conclusions of the research there is a thesis about the cinema as sensuous expression of possibility of the world as the whole. The cinema "gives the time", i.e. the present moment, "here and now", giving feeling of integrity. Remaining the part of the "space" of culture, that is taking its own "place" in it, the cinema creates the image of the world as integrity in which it is impossible "to take part" and, therefore, to make it the "part" of wider row of culture.

Keywords: art image, integrity, world, culture, location, space, present time, cinema, screen, cinema reality

Abstract: The object of our attention in this article - socio-cultural process of symbolizing success. For us it is important to consider all components of the designated process. And at this stage of the study is interesting perceptual aspect of it, and that is our subject. The relevance of considering perception of success is dictated by the need to develop a methodology for integrating cultural analysis of socio-cultural process of symbolization of success in social practices and artifacts of culture. In this article we will touch upon the problems of intercultural communication practices in which the process of symbolization success acts as a factor of integration or conflict clash of cultures. Method of philosophical analysis and synthesis allows to update the sensual aspect symbolizing success, building on the achievements of modern science and philosophy. The main conclusion of this study is the position of the syncretic nature of image-symbol of success, which is formed in the mind of the individual by compiling broadcast culture environment. Formation of an image, a symbol of success and its testing in social practices is accompanied by positive feelings psychosomatic subjects of social communication. For a more precise description of the sensory givens culture, we propose to use the concept as affekteme (affectum) atomic element, by analogy with literature developed in a cultural categories semanteme, mifeme, morpheme.

Keywords: sociocultural space, phenomenology of success, sociocultural process, social and cultural self-organization, symbolizing success, sociocultural model, perception, morphology of culture, kulturema, affektema

Abstract: The article iis focused on the history of development, as well as theoretical and methodological bases of anthropology of visual communication on the example of S. Worth and J. Adair's works. Relations between cinema technologies and methods of cultural anthropology of the second half of the XX century are analysed. Various aspects of ethnographic filming are considered. Transformations of theoretical and methodological attitudes of anthropologists at differents stages of development of discipline are analyzed. Some concepts of visual anthropology, first of all - concepts of biodocumentary and indigenny cinema are considered in details. Some approaches of philosophy and methodology of science, phenomenology, and methods of the source studies relating to analysis of audiovisual documents are used. The main contribution of the author is finding out the ways of understanding by anthropologists of what the film is and what its functions are. It was found that both considered researcher, S. Worth and J. Adair, dealt with basic issues of the nature of visual means (media) and a role of visual images in forming and structuring reality. Their ideas shaped the basis for the theory of ethnographic semiotics and development of anthropology of visual communication - the direction which determines development of the visual anthropological theory and practice today.

Keywords: film, visual anthropology, ethnographic semiotics, anthropology of visual communication, bio-documentary cinema, indigenous cinema, ethnographic cinema, motion picture camera, field research, cultural anthropology

Abstract: The article analyzes the history of rock culture in Yugoslavia with position of socio-cultural communications. At the first time the author is discussed in detail lesser known pages of the history of the Yugoslav rock music. Special attention is paid with the concept of the Slovenian professor of cultural studies Mitja Velikonja of communicative and symbolic nature of the Yugonostalgia. In this article with a position of the humanitarian knowledge Recording is investigated as a social construct in a broad multicultural mediaspace. The place of this institution is determined in the system of mass communications. The scholar gives a characteristic of the social-communicative essence of the sound recording system. He researches the regularities of development and the functioning of the sound recording institutions (Record Labels) in the system of social communications in times of socialism. The scientist analyzes the business model of music-publishing corporations of Yugoslavia in the second half of the twentieth century. The article deals with problems of interaction between senders and recipients in musical subsector of media space based on a systemic understanding of multichannel communications in the sphere of music sound recording. The author outlines the priorities of the information strategies to promote the phonographic releases, including special role of PR-technology and «feedback» in the music business. In conclusion he offers the understanding of Recording as a complex cluster of media sphere, in which stable rules, historical regularities as well as specific principles were formed.

Keywords: Scene, Mass Communications, AudioCulture, Sound Recording, «Yugonostalgia», Yugoslavia, Rock, Music, Slavs, Group

Abstract: The article is devoted to the question of the influence of modern culture and modern communication technologies. It continues and develops the discussion initiated in the 1960th by representatives of the Canadian school of cultural research concerning interdependence of technologies and mechanisms and forms of communication activity. At the present stage the issue was placed in the new contexts. There is a phenomenon of electronic culture which was investigated only in parts and on the material of early examples by representatives of the Canadian school (in particular, by G.M. McLuhan) . In the center of consideration is the Turing test as the specific phenomenon allowing to draw wide conclusions of modern forms of communication. As basic methodology the theory of technological determinism of G.M.Mcluhan and his concept of dividing of culture for eras depending on technology of communication is taken. As a conclusion situation according to which modern communication technologies change as those principles of communication between people is offered. In the situation when it appears to be impossible to determine the author of the message, the only condition of successful communication is the message, its style, semantic coherence, understanding of the purposes and tasks of the interlocutor. The communication mediated by the computer is an important component of modern electronic culture, and cogitative experiment of Turing helps us to understand its specifics better. Relevance of use of Turing test for the Internet communication is proved.

Keywords: message, Turing test, massmedia, Internet, electronic communication, technological determinism, Mcluhan, artificial intelligence, digital culture, computer program