An attempt is made to determine the place held by the Crow and Omaha types in the historical typology of systems of kinship terms. Attention is centred upon structural differences between individual systems within each of these types. The author groups all these differences into six variants and advances the view that they should be considered as stages in the development of the Crow and Omaha systems. All the variants are mapped. Two suppositions are made to explain the preservation of the peculiarities of the Crow and Omaha systems in the earliest phase of the secondary stage in the evolution of kinship systems. The author regards it as the more probable explanation that certain features of these systems survive from the preceding stage of development in the course of evolution. However, another possibility should not be dismissed, namely that in the course of evolution the terminology of the Crow and Omaha types acquires a novel content and, in fact, represents a combination of the same elements but possessing a new quality.

The author also emphasizes that to attach the names of types within the general typology of kinship term systems to particular ethnicities is unwarranted. This is especially true since these types are identified on the base of two structure-forming characteristics: bifurcation and linearity. Taking this into consideration the author proposes that the types should be named by termsdenoting these characteristics.

An attempt is made to determine the place held by the Crow and Omaha types in the historical typology of systems of kinship terms. Attention is centred upon structural differences between individual systems within each of these types. The author groups all these differences into six variants and advances the view that they should be considered as stages in the development of the Crow and Omaha systems. All the variants are mapped. Two suppositions are made to explain the preservation of the peculiarities of the Crow and Omaha systems in the earliest phase of the secondary stage in the evolution of kinship systems. The author regards it as the more probable explanation that certain features of these systems survive from the preceding stage of development in the course of evolution. However, another possibility should not be dismissed, namely that in the course of evolution the terminology of the Crow and Omaha types acquires a novel content and, in fact, represents a combination of the same elements but possessing a new quality.

The author also emphasizes that to attach the names of types within the general typology of kinship term systems to particular ethnicities is unwarranted. This is especially true since these types are identified on the base of two structure-forming characteristics: bifurcation and linearity. Taking this into consideration the author proposes that the types should be named by terms denoting these characteristics.

This series of artworks explore the human perceptions of space, presence, belonging, communication, movement, resilience, and regrowth during the ongoing pandemic in New York City. In a dynamic spatial ontology, past-present-future palimpsests exist as our spatiotemporal perception of reality. Current pandemic trapped humans (including myself) in situ, and, in a way, recontextualized human social spatiability and psychogeographic perception of space, adding layers of introspection. During lockdowns, as the only means to communicate with other people was via digital technologies, entire life (work, school, religious service, exercising, entertainment, socializing, dating, etc.) moved online. This new spatiotemporal reality emerged as a form of resilience and solidarity in the time of crisis. New York City, the city that never sleeps, started to buzz again. In a dance between the real and the imaginary, the transient and the permanent, on and off screen, the virtual and the real, online and in-person, between here and there, appears the space in between, populated with traces, imprints, voices of the voiceless, and opportunities for regrowth. This newly created mashwork inspired my painting series “Buzzing Calligraffiti” where multiple realities, spaces, cultures, and points of view coexist in a buzzing harmony. These paintings (painted with natural and manmade pigments - acai juice, ink, color pencils, and blue watercolor) are a bridge between cultures, aesthetics, and points of view (calligraphy and graffiti), as well as a bridge between nature and the city.  The work represents a unity in difference - at the same time a cultural unity and a unity where non-human and human nature coexist in harmony.