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At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.

At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in ...

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.

This theoretical work explores the meanings of leisure in the context of social and cultural formations of our time as well as works of art which portray leisure activities in their narrative. The work is divided into two parts: the first part discusses the idea of social leisure and its stages throughout the history. The second part analyses the concept of leisure in art and is represented in five chapters: pleasure meaning in leisure activity, casual leisure, gender and leisure experience, ethnicity and leisure experience and virtual leisure. This part concentrates more on leisure portrayal in art and discusses artist's relation to cultural leisure experience. The purpose of this work was to find out how different cultural, ethnical and political society tradicions influence leisure activity and how artists represent that heritage in their artwork. The work also addresses the virtual reality aspect and new technological side of contemporary art. The theoretical work comes to the conclusion that the socio-cultural aspects of living society have a main input in formatting leisure based activities and influence art, especially which portrays leisure experience. This observation also showed that artists either represent the individual metaphysical relation to ethnical society or criticize the global consumer culture in their leisure narrative based works. When portraying leisure activities, artists are influenced by their own experience which is formed by ethnical and cultural identity.

Counter-ideological collages are manifold, poly-symbolical, eccentrics and induce turn away from traditional loo-king at icons, from ideological understanding of figures and stimulate articulation of space and time or production of art for themselves under experience of expressive painting. Essential is skills to escape from narratives of reproduced icons, from their saint, eternal or ideological space and time. The principle of weakening of icons, the détournement or transformation of their messages was found by early representatives of Dadaism, Cubism, Surrealism. Weakened or destroyed dictate of grand pictures, transformed into everyday life, into causality of space and time, into nonsense of former seasons of God or war, heroic work or grand fight, open possibility to show other, undiscovered space and unexperienced time whose is pictured through altered means of painting and media, through new oppositions and conflicts. It is reach of nonideological, non-conformity art. Mixed technique of collage and painting, stirring abstractions and inserts of real pictures connect works of Rimantas Plunge with painting of art movement COBRA, painter and political critique Asger Jorn, with some details of Punk graphics, with decentred, disbalanced creations of US painter Richard Diebenkorn. Plunge continuously makes weakening of grand symbols, transforms and détournement of their senses and seeks alternative purposes. It helps him to create oppositions or even war between traditional painting (expressive, with intensive colours and paints) and new media (photography, video etc.). Such character of creation dehumanizes new spaces, forms others myths of things in itself.

Counter-ideological collages are manifold, poly-symbolical, eccentrics and induce turn away from traditional loo-king at icons, from ideological understanding of figures and stimulate articulation of space and time or production of art for themselves under experience of expressive painting. Essential is skills to escape from narratives of reproduced icons, from their saint, eternal or ideological space and time. The principle of weakening of icons, the détournement or transformation of their messages was found by early representatives of Dadaism, Cubism, Surrealism. Weakened or destroyed dictate of grand pictures, transformed into everyday life, into causality of space and time, into nonsense of former seasons of God or war, heroic work or grand fight, open possibility to show other, undiscovered space and unexperienced time whose is pictured through altered means of painting and media, through new oppositions and conflicts. It is reach of nonideological, non-conformity art. Mixed technique of collage and painting, stirring abstractions and inserts of real pictures connect works of Rimantas Plunge with painting of art movement COBRA, painter and political critique Asger Jorn, with some details of Punk graphics, with decentred, disbalanced creations of US painter Richard Diebenkorn. Plunge continuously makes weakening of grand symbols, transforms and détournement of their senses and seeks alternative purposes. It helps him to create oppositions or even war between traditional painting (expressive, with intensive colours and paints) and new media (photography, video etc.). Such character of creation dehumanizes new spaces, forms others myths of things in itself.

Counter-ideological collages are manifold, poly-symbolical, eccentrics and induce turn away from traditional loo-king at icons, from ideological understanding of figures and stimulate articulation of space and time or production of art for themselves under experience of expressive painting. Essential is skills to escape from narratives of reproduced icons, from their saint, eternal or ideological space and time. The principle of weakening of icons, the détournement or transformation of their messages was found by early representatives of Dadaism, Cubism, Surrealism. Weakened or destroyed dictate of grand pictures, transformed into everyday life, into causality of space and time, into nonsense of former seasons of God or war, heroic work or grand fight, open possibility to show other, undiscovered space and unexperienced time whose is pictured through altered means of painting and media, through new oppositions and conflicts. It is reach of nonideological, non-conformity art. Mixed technique of collage and painting, stirring abstractions and inserts of real pictures connect works of Rimantas Plunge with painting of art movement COBRA, painter and political critique Asger Jorn, with some details of Punk graphics, with decentred, disbalanced creations of US painter Richard Diebenkorn. Plunge continuously makes weakening of grand symbols, transforms and détournement of their senses and seeks alternative purposes. It helps him to create oppositions or even war between traditional painting (expressive, with intensive colours and paints) and new media (photography, video etc.). Such character of creation dehumanizes new spaces, forms others myths of things in itself.

The dissertation deals with issues of those art practices, where an artist or a curator employs people as a project material so as to realize his/her creative purpose. Projects like this commonly expand beyond the aesthetic field: instead of representing social or political reality, they actually perform it. Therefore the dissertation aims at constructing a conceptual model that would enable the analysis of the problems around participatory art, as a practice operating both in aesthetic and social fields. The model is based primarily on rethinking of the classical divide between production and action (poiēsis and praxis) and the principle premise that contemporary production is increasingly becoming akin to action (Paolo Virno, Giorgio Agamben). The dissertation suggests that participatory practices are the clearest evidence of this dialectics between production and action in contemporary art. The model constructed of diverse philosophical concepts (idle talk, tactics, everyday practices, performativity, iteration) is employed for analysis of participatory art practices in Lithuania, which shows how looking through the prism of production and action foregrounds certain problems, general to participatory art (e.g. those of documentation, relation between art event and artwork, labor and entertainment, etc.). At the same time it proves to be a handy tool that helps to highlight peculiarities of a particular project, to question certain established prejudices, and to unveil new aspects.

In Ukrainian modern social sphere there is a trend of development towards democracy. This trend , as well as any change in the world , is reflected in art. Europe could be a good example for both. But transition from one value system in to another can not occure immediately, as transformation of society and its values is required. Art, in this case, acts as a catalyst for such process. Transformation in the works of modern Ukrainian artists is research object of this work.

The paper explores the epistemic fruitfulness of the contemporary theories of modern relations for historical research about the relations between premodern polities. The application of the neorealist theory in such research is blocked by its assumption that its subject is international system, consisting of sovereign national states. However, there were no such states (and nations) in medieval Europe and most other places in premodern times. The concept of international society of H. Bull is not applicable to premodern polities because of its assumption that Westphalian peace treaty of 1648 was the date of birth of the international law and international society as historical reality. A. Wendt's thesis that in the premodern times international politics was dominated by the Hobbesian culture of anarchy disregards historical evidence about the "Lockean" realities of the dynastic politics in the medieval Europe and other places. In the first part of the article, the corrections to remove these modernist and europocentric deformations are suggested. They include the replacement of the concepts of "international system" and "international society" by the broader notions of "interpolity system" and that of "interpolity society", and the distinction between "sovereign politikes system/society" and "suzerain (imperial) polity system/society", borrowed (with modifications) from M. Wight. Second part and third parts together constitute a case study about the changing roles and challenges of the Grand Duchy of Lithuania (GDL) as the subject of interpolity relations in XIII–XV centuries. The second part is about the rise of GDL from the polity playing the role of the barrier (but not that of buffer) polity, separating Central European and Eastern European interpolity systems and belonging to both of them, to the regional empire and suzerain polity of the Eastern European interpolity system by the early XVth century. However, Lithuanian hegemony in Eastern Europe lasted only very few years. After 1430, the Eastern European interpolity system was about to transform itself from the suzerain polity system into a multipolar sovereign interpolity system of the type that consolidated in the Central and Western Europe after 1648 and survived for 300 years. However, the political leadership of GDL failed to meet the challenge to maintain an emerging multipolar balance of power in this system. According to the unconventional account of the so-called "feudal war" (1431–1453) in the Great Duchy of Moscow by Alexander Zimin, there was real possibility to establish at least two Russian states in the lands ruled by the Muscovite princes. Great Novgorod was viable polity too, bearing promise of the protobourgeois and protodemocratic Russia. Another viable polity was created in Kazan by Tatars who have changed to sedentary life of agriculturalists, and were about to become the power, filling out the geopolitical space that in older times was held by Volga Bulgaria. However, mainly due to the pursuit by Jagiellonian rulers of GDL and Poland of the dynastic politics in the Central Europe, at least three windows of opportunity to preserve this interpolity system from its annihilation by rising Moscow empire were not used. Last of them was the opportunity to re-establish the independence of Great Novgorod in 1480. These failures of the Lithuanian statesmanship sealed the fate of the Eastern European interpolity system: its disappearance in the Moscow empire. So the history of Eastern European interpolity politics in the XIII–XVIII centuries is another case proving the finding of the recent research by Stuart J. Kaufman, William C. Wohlforth, Richard Little, David Kangi, Charles Jones, Victoria Tin-Bor Hui, Arthur Eckstein, Daniel Deudney, Williams Brenner that a long-lasting balance of power in a interpolity system is rather an exception than rule, the rule being the displacement of the multipolar or bipolar balance of power interpolity systems by empires.

The paper explores the epistemic fruitfulness of the contemporary theories of modern relations for historical research about the relations between premodern polities. The application of the neorealist theory in such research is blocked by its assumption that its subject is international system, consisting of sovereign national states. However, there were no such states (and nations) in medieval Europe and most other places in premodern times. The concept of international society of H. Bull is not applicable to premodern polities because of its assumption that Westphalian peace treaty of 1648 was the date of birth of the international law and international society as historical reality. A. Wendt's thesis that in the premodern times international politics was dominated by the Hobbesian culture of anarchy disregards historical evidence about the "Lockean" realities of the dynastic politics in the medieval Europe and other places. In the first part of the article, the corrections to remove these modernist and europocentric deformations are suggested. They include the replacement of the concepts of "international system" and "international society" by the broader notions of "interpolity system" and that of "interpolity society", and the distinction between "sovereign politikes system/society" and "suzerain (imperial) polity system/society", borrowed (with modifications) from M. Wight. Second part and third parts together constitute a case study about the changing roles and challenges of the Grand Duchy of Lithuania (GDL) as the subject of interpolity relations in XIII–XV centuries. The second part is about the rise of GDL from the polity playing the role of the barrier (but not that of buffer) polity, separating Central European and Eastern European interpolity systems and belonging to both of them, to the regional empire and suzerain polity of the Eastern European interpolity system by the early XVth century. However, Lithuanian hegemony in Eastern Europe lasted only very few years. After 1430, the Eastern European interpolity system was about to transform itself from the suzerain polity system into a multipolar sovereign interpolity system of the type that consolidated in the Central and Western Europe after 1648 and survived for 300 years. However, the political leadership of GDL failed to meet the challenge to maintain an emerging multipolar balance of power in this system. According to the unconventional account of the so-called "feudal war" (1431–1453) in the Great Duchy of Moscow by Alexander Zimin, there was real possibility to establish at least two Russian states in the lands ruled by the Muscovite princes. Great Novgorod was viable polity too, bearing promise of the protobourgeois and protodemocratic Russia. Another viable polity was created in Kazan by Tatars who have changed to sedentary life of agriculturalists, and were about to become the power, filling out the geopolitical space that in older times was held by Volga Bulgaria. However, mainly due to the pursuit by Jagiellonian rulers of GDL and Poland of the dynastic politics in the Central Europe, at least three windows of opportunity to preserve this interpolity system from its annihilation by rising Moscow empire were not used. Last of them was the opportunity to re-establish the independence of Great Novgorod in 1480. These failures of the Lithuanian statesmanship sealed the fate of the Eastern European interpolity system: its disappearance in the Moscow empire. So the history of Eastern European interpolity politics in the XIII–XVIII centuries is another case proving the finding of the recent research by Stuart J. Kaufman, William C. Wohlforth, Richard Little, David Kangi, Charles Jones, Victoria Tin-Bor Hui, Arthur Eckstein, Daniel Deudney, Williams Brenner that a long-lasting balance of power in a interpolity system is rather an exception than rule, the rule being the displacement of the multipolar or bipolar balance of power interpolity systems by empires.

The paper explores the epistemic fruitfulness of the contemporary theories of modern relations for historical research about the relations between premodern polities. The application of the neorealist theory in such research is blocked by its assumption that its subject is international system, consisting of sovereign national states. However, there were no such states (and nations) in medieval Europe and most other places in premodern times. The concept of international society of H. Bull is not applicable to premodern polities because of its assumption that Westphalian peace treaty of 1648 was the date of birth of the international law and international society as historical reality. A. Wendt's thesis that in the premodern times international politics was dominated by the Hobbesian culture of anarchy disregards historical evidence about the "Lockean" realities of the dynastic politics in the medieval Europe and other places. In the first part of the article, the corrections to remove these modernist and europocentric deformations are suggested. They include the replacement of the concepts of "international system" and "international society" by the broader notions of "interpolity system" and that of "interpolity society", and the distinction between "sovereign politikes system/society" and "suzerain (imperial) polity system/society", borrowed (with modifications) from M. Wight. Second part and third parts together constitute a case study about the changing roles and challenges of the Grand Duchy of Lithuania (GDL) as the subject of interpolity relations in XIII–XV centuries. The second part is about the rise of GDL from the polity playing the role of the barrier (but not that of buffer) polity, separating Central European and Eastern European interpolity systems and belonging to both of them, to the regional empire and suzerain polity of the Eastern European interpolity system by the early XVth century. However, Lithuanian hegemony in Eastern Europe lasted only very few years. After 1430, the Eastern European interpolity system was about to transform itself from the suzerain polity system into a multipolar sovereign interpolity system of the type that consolidated in the Central and Western Europe after 1648 and survived for 300 years. However, the political leadership of GDL failed to meet the challenge to maintain an emerging multipolar balance of power in this system. According to the unconventional account of the so-called "feudal war" (1431–1453) in the Great Duchy of Moscow by Alexander Zimin, there was real possibility to establish at least two Russian states in the lands ruled by the Muscovite princes. Great Novgorod was viable polity too, bearing promise of the protobourgeois and protodemocratic Russia. Another viable polity was created in Kazan by Tatars who have changed to sedentary life of agriculturalists, and were about to become the power, filling out the geopolitical space that in older times was held by Volga Bulgaria. However, mainly due to the pursuit by Jagiellonian rulers of GDL and Poland of the dynastic politics in the Central Europe, at least three windows of opportunity to preserve this interpolity system from its annihilation by rising Moscow empire were not used. Last of them was the opportunity to re-establish the independence of Great Novgorod in 1480. These failures of the Lithuanian statesmanship sealed the fate of the Eastern European interpolity system: its disappearance in the Moscow empire. So the history of Eastern European interpolity politics in the XIII–XVIII centuries is another case proving the finding of the recent research by Stuart J. Kaufman, William C. Wohlforth, Richard Little, David Kangi, Charles Jones, Victoria Tin-Bor Hui, Arthur Eckstein, Daniel Deudney, Williams Brenner that a long-lasting balance of power in a interpolity system is rather an exception than rule, the rule being the displacement of the multipolar or bipolar balance of power interpolity systems by empires.