The design ideas of the postmodern era reflect the general trends of socio-cultural reality, namely the loss of traditional moral guidelines, disharmony and destructiveness combined with absurdity, a sense of crisis, abyss and uncertainty conveyed in signs and in spatial coordinates. Design products become installations in which the viewer is a direct participant, sometimes even the creator. Postmodern design denies finitude, noting the plurality, uncertainty and fluidity of the world. The paradox of postmodern design culture is expressed in a combination of diametrically opposite things, sometimes even mutually exclusive. The era of postmodern design culture has recorded the fusion of "high" and "low" art, the emergence of new trends - neo-conceptual art, art installation, lowbrow art, performance art, digital art, telematic art - has affected. It should be noted the immersion in virtual reality in particular, as a result of the perception of the concept of postmodernism. After all, the purpose of designer items and their perception has already been changed in accordance with the needs of a person in the postmodern world. A striking example is the coronavirus epidemic, which has become the central theme of successful design projects. After all, a protective mask as a medical device becomes the object of design solutions that transform it into a means of self-expression (fabric masks, masks with pictures), or the manifestation of social characteristics (inscriptions about social distancing, calls for certain actions), or the result of digital achievements. (the ability to measure temperature and monitor body indicators).

The purpose of the article is to study the cultural-anthropological origins of the mask, which make it possible to interpret the initiation of physicality, which in the process of initiation acquired the signs of psychosomatic modification. The research methodology is based on the use of psychoanalytic, structural-functional, semiotic, and cultural-anthropological methods. Scientific novelty. In the study of cultural-anthropological origins of the mask of initiation physicality, used ideas of the «collective unconscious» of K. Jung, the theory of social character by E. Fromm, the methods of structural anthropology by K. Levi-Strauss, and analysis of ritual functions by K. Lorenz were used. The given examples of initiation in youth associations, male unions, subcultures, countercultures allow us to determine the cultural-anthropological origins of the mask in rituals and initiation rituals as an appeal to a perfect image, which symbolically possessed an advantage in natural-biological and psychological aspects. Conclusions. In the interpretation of the initiation physicality, which in the process of initiation acquired signs of psychosomatic modification, the cultural-anthropological origins of the mask are considered, represented by the ideas of the «collective unconscious» of K. Jung (Persona – Anima), the theory of social character by E. Fromm («to have» – «to be»). The study of experience, the relationship between biological and social in human behavior is represented by the methods of structural anthropology by K. Levi-Strauss, by the analysis of ritual functions from the standpoint of natural-biological existence – according to K. Lorentz. The given examples of initiation in youth associations, male unions, subcultures, countercultures allow us to determine that most often in rituals and initiation rituals, a perfect image was chosen, which symbolically possessed an advantage in natural-biological and psychological aspects.

No abstract

natsionalnyh-proizvoditeley-v-ramkah-vto. 2. Соглашение о свободной торговле между Евразийским экономическим Cоюзом и его государствами-членами, с одной стороны, и Социалистической Республикой Вьетнам, с другой стороны, г. Бурабай, 29 мая 2015 г. Глава 3, Статья 3.1. Официальный интернет-портал правовой информации.

The purpose of the article is to consider the concept and determine its components, in the development and analysis of conceptual art in modern design. Methodology. The following methods are used: analysis, synthesis, as well as semiotic, hermeneutic, psychoanalytic. The scientific novelty of the work lies in the study of conceptual art on the examples of hairstyle design, hairdressing collections, and an attempt to comprehend the underlying contexts and meanings in the process of interpretation. Conclusions. Given the fact that modern design as a polymorphic entity with a dominant innovative component actualizes the activities of the new generation and acquires the features of intellectual comprehension of visual information, it can be argued that conceptual art is a priority in this direction. The concept as the initial concept of the conceptual is defined as a multilevel formation of content, the semantic meaning of the sign, which requires a process of interpretation. Through J. Dili's study of the theory of sign systems, the interpretation of the concept in the system of traditions, rituals, customs, which is perceived differently by different people due to belonging to different cultures, societies, etc., becomes clear. It is proved that the creation of the concept is based on processes based on individual practice, personal associations, and the main types of metaphorical and allegorical thinking that arise from the experience of not only cognitive but also substantive activity. The study of conceptual art on examples of hairstyle design, hairdressing collections shows the peculiarity of such works of art: they are not always functional and are not always defined as a utilitarian object, but the use of unusual color, shape, progression, silhouette lines, the fullness of space and volume with signs and symbols, require a multilevel semantic definition in the process of interpretation through intellectual comprehension of the inherent contexts and meanings. Keywords: conceptual art, concept, design, hairstyle.