Homo Pictor та культурна практика образу в концепції Готфріда Бьома
Homo Pictor and Cultural Practice of Image in the Gottfried Boehm’s Concept

Summary/Abstract: The purpose of the article is to analyze the concept of the image of G. Boehm as a cultural practice. The main attention is paid to the ways of production and consumption, semantics and pragmatics of the image. The methodology of the research consists of using analysis, synthesis, comparison, generalization, as well as semiotic, hermeneutical and historical approaches. This let us reveal the formation of peculiarities of the cultural practice of the image in the logic of interaction between the presentation and the representation of the depicted. Scientific Novelty. The study is novel in defining G. Boehm 's image as a cultural practice of de-differentiation of a series of artifacts, a spectator community and cultural senses. The line between art studies, sociology and philosophy of culture seems to be fading and loosing the disciplinary autonomy of specified branches of science. Conclusion. It is proved that the cultural practice of the image is a medium between aesthetic values, a spectator community and separated works of art, and at the same time, it acts as a medium between high culture and the world of everyday life. The existence of such a cultural practice allows not only masterful "manufacturing" (Modern accent), but also "domestication" (ie, behavior, consumption, transformation) of images. The image simultaneously returns to what was, and at the same time, transforms the past, adds a new one with the power of the showing, actualizing it in the present. Cultural practice of the image is at the same time an ideal model of ordering the world of human existence in general and a real process of interaction of things and human, as well as the basis for the formation of an anthropological model of Homo Pictor.

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