Science and art as different aspects of human existence.

In posing the problem, the author draws on the concept of M. Heidegger. He is interested in the relationship between science, philosophy, and art. An analysis of Heidegger's specific studies in this area shows that they adhere to the principles of the phenomenological approach and methodology, such as the necessity of the "presentation" and "manifestation" of the knowing subject to things or the understanding of the essence of things as "source" and their structure as "work." However, in the author's view, these do not correspond to the established methods of contemporary philosophical research on complex phenomena. In particular, in the author's studies, philosophy, science, art, and technology are not related as they are in the German philosopher to a unified ultimate ontology of being; instead, they are connected by the method of cultural analysis. The origins of ancient science and the understanding of phenomena in natural sciences and humanities are analyzed, followed by the origins of art and Aristotle's "Poetics," historical reconstruction, and the concepts used. As an example of one of the relatively modern views of science and art, the novels of Alexander Bogdanov are considered, in which scientific research and artistic creativity are uniquely intertwined. In certain fragments of the narrative, science and art are not connected at all for Bogdanov. However, when they converge, as in the last scene of the second novel, knowledge (futurology) and artistic imagination work off each other. It is difficult to reconstruct any being that is revealed in these vividly presented providential events. As a scholar and philosopher, Bogdanov analyzes the advantages and disadvantages of distributive economy, outlines the contours of a new science, discusses the features of the psychology of socialist individuals, and examines the clash and coexistence of modern and socialist cultures. In doing so, he creates ideal objects and thinks in accordance with the ideals of science and philosophy of the early 20th century. As an artist, Bogdanov realizes his desires (the construction of socialism), his fears (doubts about workers' readiness for revolution, as well as his role as the party leader), and his experiences of the impossibility of eternal life on Earth. Here, the main tools are imagination, schemes, metaphors, and other expressive means of art from this period.