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The article researches the topic of “artistic distrust” as a possible rebel path of the rebellious artists from the mainstream to the underground existence. The artist’s existence of reality on the principle of doubt about any norms (the model of “anthropology of distrust”) has a long historical longevity. Through the analysis of both high-quality works of art and safe normative art in different periods we observe various examples that may show this point of view. In medieval art we notice the precedent of “disobedience” and non-compliance with the norms of the official church in decorations of the temples and overcoming of anonymity. Thus the artist Anton Pilgram resorted to self-affirmation, as long as the master signed his own work in the spotlight and made a self-portrait on it.From the Renaissance, the idea of individual search, experiment, that is, disobedience and doubt in traditions, has been working in the minds of Europeans. The latest philosophical thought of the beginning of the “anthropology of distrust” sees its origins in the worldview models of the Renaissance. Leonardo da Vinci, with his curiosity and the genius of exploration, has remained an iconic figure to this day and an obvious symbol of total doubt and distrust of all that is established. With the ideal of a beautiful, flawless man, philosophy and art parted with difficulty, in the dramatic realization that it was time to present the unattractive, the ugly, the unfinished, and the negative as artistic qualities in the works of the New Age. “Anthropology of distrust,” doubting the inviolability of existing (at different times) norms manifests itself dualistically. In the works of great masters the denial of norms thatexisted in the art of a particular era had a progressive, positive meaning, because it opened up new levels of worldview to culture. In global art practice, the vast majorities of artists were and are conformists. Conformism in art supports tradition, holds the level of skill, but has no pretensions to open new horizons in the artistic reflection of the world. The situation is quite different when the artist questions any stability in art, or totally denies them. This is not a riot for the sake of a riot, but a feeling of something missing that the artist himself is not yet able to explain. According to the promising thinking of the bright philosophers of the 17th–20th centuries, self-distrust, doubts about the perfection of one’s own achievements, and a look into the non-existent are productive for culture. These impulses of the psyche proved to be fundamental and indisputable in the mentality and culture of modern times. The most radical were the programs of Dadaism and Futurism. In a person of the pre-modern era, the deviation from the norm caused stupor. Now the procedural features of the “anthropology of distrust,” the feeling of one’s own deficiency activate the artist’s creative thought and encourage a reckless search, sometimes even complete self-denial. At all times, until today, the bravest in their own rebellion against existing norms (both artistic and social) often fall on the margins of life and the artistic process, or even underground. Such artists are not understood or supported by the general public, and even worse, they are treated with suspicion and sometimes hostility. In the early 1990s, when the young generation of Ukrainian artists opposed the remnants of the Soviet mentality in both art and social life, the “anthropology of distrust” had a life-giving meaning. The mobilizing philosophy of “distrust” regarding the normative nature of socialist realism led to the formation of Ukrainian “contemporary art” which later turned into neo-conformism., Статтю присвячено темі «художньої недовіри», яка властива митцям авангардного мислення в подоланні ними як творчих і психологічних, так і соціокультурних обмежень на шляху до творчої свободи. На прикладі аналізу ключових моментів творчості художників різних періодів унаочнено всеохопність та довге історичне життя так званого «підривного мистецтва» як прояву «антро- пології недовіри». Доведено та проявлено ідею сумніву, неспокою, недовіри в мистецтві переломних часів (авангардизм 1910–1920-х та український досвід 1990-х – початку 2000-х).

The article presents a historiography of the non-state sector of culture and the processes that took place in the artistic life of Ukraine at the crucial time of the late 1980s — early 1990s. It shows various aspects: changes in stylistic trends, the rising of creative freedom of the young generation of artists, social changes, the economic situation and the rise of the art market, which had just appeared on the ruins of the former Soviet Union. On the case of Tiberiy Szilvashi, the "Zhyvopysnyi zapovidnyk" ("Picturesque Reserve") group, and members of the Parkomuna (Paris Commune) it is shown how changes took place not only in works of artists, but also in a transition to market relations considering the latest changes. The article describes the formation of the gallery movement in Kyiv, namely the activities of such institutions as Atelier Karas, Triptych Art Gallery, Gallery 36, L-Art Gallery, Irena Gallery, "Blank Art" and others. The problematic moments are identified and described, the analysis of external and internal factors that determined the path of the gallery activities of Kyiv in the first years of Ukraine's independence is carried out. The problem of works of art collecting made by representatives of the "fresh" bourgeoisie is raised. The materials of the article can be used in further scientific research on the history of the art market of Ukraine, in particular, gallery business.

The article presents analysis of modern laboratory technologies and requirements for the quality of laboratory tests in the Russian Federation. Basic rules that improve the quality of laboratory tests at the preanalytical, analytical and postanalytical stage are studied on the example of tests in the Laboratory Hemotest. The optimal list of laboratory tests used in the practice of a general practitioner and organizational options for performing laboratory tests, the features of the process that affect the speed of obtaining a result by a doctor in an outpatient setting and in hospital, are presented.

The purpose of the work is to discover the significance of the Hubert Parry’s creative activity in the historical context of the process of the formation of a new national composing school of Great Britain at the turn of the nineteenth and twentieth centuries. The methodology of the work consists in the application of historical-cultural, art criticism, analytical, comparative methods, which make it possible to explore the ideological and aesthetic content of Parry’s creative activity, to analyze the genre-style orientation of the composer’s work. Contextual and systemic methods make it possible to study it in the direct inclusion in the integrity of culture, in the system of its organic interconnections. The scientific novelty of the work is that for the first time in Ukrainian musicology it covers the creative personality of Hubert Parry, an outstanding figure in English musical culture of the late XIXth – early XXth century, who was at the beginnings of the era of new national musical revival. Conclusions. The work revealed various facets of the Parry’s creative personality – the enlightener, scientist, teacher, composer; it is proved that his creative activity had a tremendous influence on the processes of the formation of the national composing school. The priority genre spheres of Parry’s creativity, the role of national musical traditions in it are revealed; the characteristics of selected works of the composer are given. His creative contacts with his contemporaries, the outstanding representatives of the English musical culture of the Victorian era, are highlighted; the important testimonies of British musicologists on various aspects of the artist’s creation and personality are given in the article.

Within the framework of the restoration painted plafond performed in the distemper technique at the first half of the 19th century were investigated by micro-Raman spectroscopy, UV photography, optical microscopy. One hundred and fifty artistic composition fragments samples were studied from the different parts of plafond. The presence of the following basic pigments: emerald green, Scheele's green; ultramarine, indigo blue, azurites, vermilion, ferric oxide based pigments were observed. Lead white, calcite and gypsum were identified. It's ownership of the author's record is discussed. The places of pigments application in the author's layer of painting were localized, basic and auxiliary materials were identified.

The structural tensions that exist in the religious dynamics between Shi‘its and Sunnis in Azerbaijan Republic has led the country’s government to establish a new institution to monitor and supervise the religious issues. This article not only aims to surface the tensions between the “State Committee for Religious Affairs” and the informal religious institutions, but also to show if the secular image of the Azerbaijani State has been affected by this tensions.

Due to a noticeable expansion of document recognition applicability, there is a high demand for recognition on mobile devices. A mobile camera, unlike a scanner, cannot always ensure the absence of various image distortions, therefore the task of improving the recognition precision is relevant. The advantage of mobile devices over scanners is the ability to use video stream input, which allows to get multiple images of a recognized document. Despite this, not enough attention is currently paid to the issue of combining recognition results obtained from different frames when using video stream input. In this paper we propose a weighted text string recognition results combination method and weighting criteria, and provide experimental data for verifying their validity and effectiveness. Based on the obtained results, it is concluded that the use of such weighted combination is appropriate for improving the quality of the video stream recognition result., 6 pages, 4 figures, 1 table, accepted and presented at International Conference on Machine Vision 2019 (ICMV 2019)

The need to train a large number of translators necessitates the training of professional translation teachers. At present, translation is taught either by translators having no pedagogical education or by teachers of foreign languages with no degree and often no practical experience in translation. Both categories need additional training that would supplement their education. The existing system of short-time professional development courses is not adequate to the task of filling in the gaps in professional education of translation teachers. The article discusses a conceptually new approach to retraining and training translation teachers that presupposes developing and introducing several type programs. They are extensive retraining programs for those who currently teach translation and two types of master’s degree programs for students having a bachelor’s degree either in translation or in teaching foreign languages. In both types of programs, the pedagogical and translation components of education will supplement each other, so that graduates will acquire competences necessary for being good translation teacher. Special emphasis should be laid on translation didactics which so far has not been taught either in translator training programs or in teacher training programs of any type or level. The authors discuss principles of designing and developing such programs.