Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-13
Valentyn Nekhai
General problems of decision-making in various spheres of activity require a systematic approach and consideration of many factors. This process is multistep and complex, as each decision can have a significant impact on the internal and external environment. Analytical thinking is a key component of successful decision-making. It includes the ability to recognize the main aspects of a problem, systematically analyze available information, and consider different options for action and their potential consequences. The development of analytical thinking helps managers and specialists make informed decisions based on logical and critical data analysis. Modern methods and decision-making models, such as economic-mathematical models, game theory, system analysis and heuristic approaches, allow you to objectively evaluate possible solutions to the problem. These techniques can help identify optimal strategies given limited resources and existing risks. The use of these tools allows you to reduce subjective influences on the decision-making process and increase its efficiency. The integration of different approaches is important to achieve a comprehensive understanding of the problem and develop comprehensive solutions. Successful decision-making requires not only deep knowledge and skills, but also the ability to work in conditions of uncertainty and complexity. It is important to consider both internal and external factors that can affect the result. A comprehensive approach to decision-making allows you to effectively manage these challenges and ensure the sustainable development of organizations and society as a whole. The article is devoted to the analysis of methods and models of managerial decision-making in the socio-cultural sphere. The study focuses on the importance of considering cultural and social factors in the decision-making process. The work examines various approaches to management, in particular methods of involving the public, ethical aspects, as well as the use of heuristic models. The purpose of the study is to determine effective approaches to management decision-making that take into account the specifics of the socio-cultural environment. The methodology includes the dialectical method, generalization, synthesis, and logical and systemic analysis. In the course of the research, the challenges and possibilities of applying various methods in the practice of managing socio-cultural processes were revealed. Special attention is paid to the analysis of potential obstacles, such as cultural, ethnic, religious, and social differences, and the difficulty of measuring the impact of these factors. The results of the study indicate the importance of the integration of the latest technologies as well as the development of adaptive methodologies for effective management in various socio-cultural conditions. Recommendations include the need for a multidisciplinary approach and collaboration between academics and practitioners to achieve po
{"title":"Methods and models of administrative decision-making in the socio-cultural sphere: analysis and perspectives","authors":"Valentyn Nekhai","doi":"10.37131/2524-0943-2024-52-13","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-13","url":null,"abstract":"General problems of decision-making in various spheres of activity require a systematic approach and consideration of many factors. This process is multistep and complex, as each decision can have a significant impact on the internal and external environment.\u0000Analytical thinking is a key component of successful decision-making. It includes the ability to recognize the main aspects of a problem, systematically analyze available information, and consider different options for action and their potential consequences. The development of analytical thinking helps managers and specialists make informed decisions based on logical and critical data analysis. Modern methods and decision-making models, such as economic-mathematical models, game theory, system analysis and heuristic approaches, allow you to objectively evaluate possible solutions to the problem. These techniques can help identify optimal strategies given limited resources and existing risks. The use of these tools allows you to reduce subjective influences on the decision-making process and increase its efficiency.\u0000The integration of different approaches is important to achieve a comprehensive understanding of the problem and develop comprehensive solutions. Successful decision-making requires not only deep knowledge and skills, but also the ability to work in conditions of uncertainty and complexity. It is important to consider both internal and external factors that can affect the result. A comprehensive approach to decision-making allows you to effectively manage these challenges and ensure the sustainable development of organizations and society as a whole.\u0000The article is devoted to the analysis of methods and models of managerial decision-making in the socio-cultural sphere. The study focuses on the importance of considering cultural and social factors in the decision-making process. The work examines various approaches to management, in particular methods of involving the public, ethical aspects, as well as the use of heuristic models.\u0000The purpose of the study is to determine effective approaches to management decision-making that take into account the specifics of the socio-cultural environment. The methodology includes the dialectical method, generalization, synthesis, and logical and systemic analysis.\u0000In the course of the research, the challenges and possibilities of applying various methods in the practice of managing socio-cultural processes were revealed. Special attention is paid to the analysis of potential obstacles, such as cultural, ethnic, religious, and social differences, and the difficulty of measuring the impact of these factors.\u0000The results of the study indicate the importance of the integration of the latest technologies as well as the development of adaptive methodologies for effective management in various socio-cultural conditions. Recommendations include the need for a multidisciplinary approach and collaboration between academics and practitioners to achieve po","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"93 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-14
Tamara Shadiuk, Natalia Zoshchuk, Oksana Kliukha
The aim of the article. To find out the current theoretThe concept of information culture in this study was formed thanks to a reversible approach to the interpretation of socio-cultural activity, a component of which is the relationship between people based on the use of information and the related information policy of the organization and management practices. The key importance of the semantic aspects of information culture, which determine management strategies, is emphasized. The integrity of the concept of information culture is formed on the basis of the systematization of cultural and anthropological patterns that directly reflect the semantic patterns of relationships between people, mediated by information, and indicate the main directions of the formation of information culture. This concept reflects the content of existing information strategies used in the management of modern organizations, taking into account globalization trends and the functioning of an individual in a specific social environment. Four patterns of information culture, which have a cultural and anthropological content, are correlated with the socio-cultural conditions of the functioning of organizations and indicate the directions of management of information culture as an intangible asset of any organization, are singled out. These are resource, value, learning and quality patterns, which are important aspects of managing an organization. It has been established that resource and value patterns establish organizational culture and strengthen it from within. In the qualitative dimension, information culture appears as communication based on information as an asset of critical knowledge that needs to be managed in order to comply with rules and regulations that are relevant to the goals and visions of the organization. Effective management of information culture allows the organization to complicate its structure and reach a new quality level, characterized by a high degree of creativity, innovation and involvement, if it takes into account the interdependence of culture and strategy.
{"title":"Management of socio-cultural activity in the context of information culture","authors":"Tamara Shadiuk, Natalia Zoshchuk, Oksana Kliukha","doi":"10.37131/2524-0943-2024-52-14","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-14","url":null,"abstract":"The aim of the article. To find out the current theoretThe concept of information culture in this study was formed thanks to a reversible approach to the interpretation of socio-cultural activity, a component of which is the relationship between people based on the use of information and the related information policy of the organization and management practices. The key importance of the semantic aspects of information culture, which determine management strategies, is emphasized. \u0000The integrity of the concept of information culture is formed on the basis of the systematization of cultural and anthropological patterns that directly reflect the semantic patterns of relationships between people, mediated by information, and indicate the main directions of the formation of information culture. This concept reflects the content of existing information strategies used in the management of modern organizations, taking into account globalization trends and the functioning of an individual in a specific social environment.\u0000Four patterns of information culture, which have a cultural and anthropological content, are correlated with the socio-cultural conditions of the functioning of organizations and indicate the directions of management of information culture as an intangible asset of any organization, are singled out. These are resource, value, learning and quality patterns, which are important aspects of managing an organization. It has been established that resource and value patterns establish organizational culture and strengthen it from within. In the qualitative dimension, information culture appears as communication based on information as an asset of critical knowledge that needs to be managed in order to comply with rules and regulations that are relevant to the goals and visions of the organization.\u0000Effective management of information culture allows the organization to complicate its structure and reach a new quality level, characterized by a high degree of creativity, innovation and involvement, if it takes into account the interdependence of culture and strategy.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"115 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-7
Sofiia Ohonovska
The key aspects of the works of domestic scientists are analyzed in the context of the historical development of fine arts and the artistic environment of Lviv in general, during the collapse of the totalitarian regime and in the first years of Ukraine's independence. Based on the method of systematization and synthesis of information, it was possible to outline the theoretical basis of the study of Lviv postmodernism of the late 1980s and early 1990s. Separate scientific sources are highlighted, which partially demonstrate the influence of postmodernism on the art of Lviv, and it is noted that the situation, characteristic of the whole of Ukraine, has acquired a vivid expression in Lviv: artists began to organize exhibitions more often, which no longer required the approval of the artists' union. The authors rejected Soviet templates and sought to expand the creative range of forms and methods. A protest against the old practice of "faceless creativity" began. The corresponding period in Lviv can be characterized as the heyday of postmodernism, which interacted with world trends and evolved into new forms. Art critics such as H. Vysheslavskyi, O. Holubets, A. Lozhkina, V. Sydorenko, H. Sklyarenko, B. Shumylovych and R. Yatsiv made a significant contribution to the illumination of this period. The source base is also demonstrated: catalogs, albums and other publications from exhibition projects. It was found that a significant part of mentions in newspapers, press releases, manifestos and photographs from exhibitions are in private collections. The purpose of the article is to find out the state of coverage in the Ukrainian scientific discourse of the influence of postmodern trends on the visual arts of Lviv in the late 1980s and early 1990s. Attention is focused on the unsystematic and selective review of postmodern art of this period in the works of researchers in general, and the lack of scientific publications devoted directly to the analysis of Lviv fine art of the late 1980s — early 1990s within the framework of art historical analysis, as a result of which this problem remains unsolved.
{"title":"Postmodernism in the art of Lviv in the late 1980s and early 1990s in the Ukrainian scientific discourse","authors":"Sofiia Ohonovska","doi":"10.37131/2524-0943-2024-52-7","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-7","url":null,"abstract":"The key aspects of the works of domestic scientists are analyzed in the context of the historical development of fine arts and the artistic environment of Lviv in general, during the collapse of the totalitarian regime and in the first years of Ukraine's independence. Based on the method of systematization and synthesis of information, it was possible to outline the theoretical basis of the study of Lviv postmodernism of the late 1980s and early 1990s. Separate scientific sources are highlighted, which partially demonstrate the influence of postmodernism on the art of Lviv, and it is noted that the situation, characteristic of the whole of Ukraine, has acquired a vivid expression in Lviv: artists began to organize exhibitions more often, which no longer required the approval of the artists' union. The authors rejected Soviet templates and sought to expand the creative range of forms and methods. A protest against the old practice of \"faceless creativity\" began. The corresponding period in Lviv can be characterized as the heyday of postmodernism, which interacted with world trends and evolved into new forms. Art critics such as H. Vysheslavskyi, O. Holubets, A. Lozhkina, V. Sydorenko, H. Sklyarenko, B. Shumylovych and R. Yatsiv made a significant contribution to the illumination of this period. The source base is also demonstrated: catalogs, albums and other publications from exhibition projects. It was found that a significant part of mentions in newspapers, press releases, manifestos and photographs from exhibitions are in private collections.\u0000The purpose of the article is to find out the state of coverage in the Ukrainian scientific discourse of the influence of postmodern trends on the visual arts of Lviv in the late 1980s and early 1990s.\u0000Attention is focused on the unsystematic and selective review of postmodern art of this period in the works of researchers in general, and the lack of scientific publications devoted directly to the analysis of Lviv fine art of the late 1980s — early 1990s within the framework of art historical analysis, as a result of which this problem remains unsolved.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141834884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-9
Borys Sheremeta
The article deals with the symbolism of the image of Christ in the Passion cycles of three artists Olena Kulchytska, Osyp Sorokhtei, and Ostap Lozynskyi. The attention is focused on how they interpreted the image of Christ and what idea they put into the Passion theme. The relevance of the study is due to the constant interest of society in religious themes, in particular, in the passionate image of Christ as one of the most eloquent examples of sacrifice and sacrifice. The study of the image of the Savior in the Passion cycle is conducted through the prism of the concepts of E. Levinas, Raymond E. Brown, D. Stott, M. Borg, who considered the significance of Christ's sacrifice, His suffering, mercy and love. It was found that O. Kulchytska in her composition (1915) shows the humble image of Jesus Christ and focuses on his sacrifice. In his Passion cycle (1930-1932), O. Sorokhtei borrows the idea of the Pokuttya “calvary” and presents Christ as an ordinary person-one of us. O. Lozynsky in his project “The Way” (2014) speaks of the importance of the personal relationship between Jesus Christ and man. In our opinion, the creation of these cycles was influenced by the events of the First World War and the Liberation Movement of the Ukrainian people (O. Kulchytska), the events of repression of Ukrainians in the USSR (O. Sorokhtei), and the beginning of the Russian-Ukrainian war (O. Lozynskyi).
文章论述了三位艺术家奥列娜-库尔奇茨卡、奥西普-索罗赫泰和奥斯塔普-洛钦斯基的受难画中基督形象的象征意义。研究的重点是他们如何诠释基督形象，以及他们在受难主题中融入了哪些思想。研究的现实意义在于社会对宗教主题的持续关注，尤其是对基督作为牺牲和奉献的最有力例证之一的激情形象的关注。通过 E. Levinas、Raymond E. Brown、D. Stott、M. Borg 等人的概念棱镜对耶稣受难记中的救世主形象进行了研究，他们认为基督的牺牲、受难、仁慈和爱具有重要意义。奥-库尔奇茨卡在其作品（1915 年）中展现了耶稣基督谦卑的形象，并着重描写了他的牺牲。奥-索罗赫泰在他的《受难曲》（1930-1932 年）中借用了波库特亚 "十字架 "的概念，将耶稣基督表现为一个普通人--我们中的一员。奥-洛钦斯基在他的项目 "道路"（2014 年）中谈到了耶稣基督与人类之间个人关系的重要性。我们认为，这些周期性作品的创作受到了第一次世界大战和乌克兰人民解放运动（O. Kulchytska）、苏联镇压乌克兰人事件（O. Sorokhtei）以及俄乌战争开始（O. Lozynskyi）等事件的影响。
{"title":"The symbolism of the image of Christ in the Passion cycles of Olena Kulchytska, Osip Sorohtei, Ostap Lozynskyi","authors":"Borys Sheremeta","doi":"10.37131/2524-0943-2024-52-9","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-9","url":null,"abstract":"The article deals with the symbolism of the image of Christ in the Passion cycles of three artists Olena Kulchytska, Osyp Sorokhtei, and Ostap Lozynskyi. The attention is focused on how they interpreted the image of Christ and what idea they put into the Passion theme. The relevance of the study is due to the constant interest of society in religious themes, in particular, in the passionate image of Christ as one of the most eloquent examples of sacrifice and sacrifice. The study of the image of the Savior in the Passion cycle is conducted through the prism of the concepts of E. Levinas, Raymond E. Brown, D. Stott, M. Borg, who considered the significance of Christ's sacrifice, His suffering, mercy and love. It was found that O. Kulchytska in her composition (1915) shows the humble image of Jesus Christ and focuses on his sacrifice. In his Passion cycle (1930-1932), O. Sorokhtei borrows the idea of the Pokuttya “calvary” and presents Christ as an ordinary person-one of us. O. Lozynsky in his project “The Way” (2014) speaks of the importance of the personal relationship between Jesus Christ and man. In our opinion, the creation of these cycles was influenced by the events of the First World War and the Liberation Movement of the Ukrainian people (O. Kulchytska), the events of repression of Ukrainians in the USSR (O. Sorokhtei), and the beginning of the Russian-Ukrainian war (O. Lozynskyi).","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"65 s254","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141834739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-1
Olena Andrianova, S. Biskulova
Technological research of eight Serhiy Shyshko’s drawings from the artist's family was carried out. The technique of graphic arts and the composition of the paper supports were identified by optical and physics-chemical methods. The degradation level of drawings’ paper due to the natural aging and storage conditions was established. All the drawings were made with a graphite pencil by combining the techniques of working with the tip and the side surface of the pencil with shading. It was shown that ultraviolet fluorescence examination of drawings’ support could be useful method for making preliminary conclusions about the fiber composition of the paper and the presence of fillers. It was figured out that prolonged storage of drawings in the picture-framing mats caused paper destruction due to the influence of backing board material. The pulp fiber composition and binder of the Serhiy Shyshko’s drawing supports as well as the type of fillers, and the mineral coating composition were determined by optical microscopy, X-ray fluorescence analysis, and Fourier transform infrared spectroscopy. It was established that most of the drawings are created on drawing paper made of cotton pulp. The paper of the three drawings is made mainly of wood pulp. Rag fibers were found in the paper composition of 1930s–early 1940s drawings. Gum glue was identified as a binder of paper supports. It was determined that kaolin is the main filler of paper’s pulp and coating. The composition of the drawings’ supports was analyzed. It was demonstrated the necessity of an integrated approach using physical and chemical methods for the determination of the chemical elements’ origin in particular titanium, in the paper composition. The results of Serhiy Shyshko’s drawings’ technological research are introduced into scientific circulation for the first time. This article fills the gaps in the study of Shyshko's heritage and encourages further comprehensive research of his graphic arts. The composition changes in the paper support of different chronological periods were established. These data are important for dating graphic works of unknown creation time and clarifying the attribution of Ukrainian artists’ drawings.
{"title":"Technological research of Serhiy Shyshko’s graphic arts","authors":"Olena Andrianova, S. Biskulova","doi":"10.37131/2524-0943-2024-52-1","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-1","url":null,"abstract":"Technological research of eight Serhiy Shyshko’s drawings from the artist's family was carried out. The technique of graphic arts and the composition of the paper supports were identified by optical and physics-chemical methods. The degradation level of drawings’ paper due to the natural aging and storage conditions was established. All the drawings were made with a graphite pencil by combining the techniques of working with the tip and the side surface of the pencil with shading. It was shown that ultraviolet fluorescence examination of drawings’ support could be useful method for making preliminary conclusions about the fiber composition of the paper and the presence of fillers. It was figured out that prolonged storage of drawings in the picture-framing mats caused paper destruction due to the influence of backing board material. The pulp fiber composition and binder of the Serhiy Shyshko’s drawing supports as well as the type of fillers, and the mineral coating composition were determined by optical microscopy, X-ray fluorescence analysis, and Fourier transform infrared spectroscopy. It was established that most of the drawings are created on drawing paper made of cotton pulp. The paper of the three drawings is made mainly of wood pulp. Rag fibers were found in the paper composition of 1930s–early 1940s drawings. Gum glue was identified as a binder of paper supports. It was determined that kaolin is the main filler of paper’s pulp and coating. The composition of the drawings’ supports was analyzed. It was demonstrated the necessity of an integrated approach using physical and chemical methods for the determination of the chemical elements’ origin in particular titanium, in the paper composition. The results of Serhiy Shyshko’s drawings’ technological research are introduced into scientific circulation for the first time. This article fills the gaps in the study of Shyshko's heritage and encourages further comprehensive research of his graphic arts. The composition changes in the paper support of different chronological periods were established. These data are important for dating graphic works of unknown creation time and clarifying the attribution of Ukrainian artists’ drawings.","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"72 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141835008","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-4
Andrii Helytovych
Using the example of works up to 2019, the author's method of virtual exposition of paintings "A-vision" of the famous Lviv contemporary artist and teacher A. Maksymenko is considered. The goal is to single out and characterize the key features of the author's approach to the problem of virtual exhibition of works of art. The subject of the study is the inherent features of the combination of works of art with the exhibition environment in the "A-vision" form proposed by Maksymenko. Conclusions about the nature of the construction of the virtual space are drawn up in connection with the necessary concise analysis of the key features of the presented works. The considered samples include the works of 2006-2019, which present painting series about the impressions of visiting cities, combined into a cycle of album-catalogues "Reflections", work on which continues to this day. The A-vision formula based on the example of Reflections provides an exhibition project for a real space, but an independent presentation of paintings is also provided. The analysis of paintings in the article is presented only to the extent that it is necessary to reveal the peculiarities of visualization in the medium on which the emphasis is placed. Since the author's virtual expositions have not yet been publicly widely presented and continue to be in a state of development, they have not yet become the subject of special investigations. The primary analysis of A-vision expositions convinces of the presence of interesting author's finds in the way of virtual presentation of artworks, which constitute value and novelty within the framework of art research. Visualization of the exposition takes place both in two- and three-dimensional space, includes elements of collage, and the materialization of the exhibition in A-vision is foreseen, although not mandatory, and requires active creative interpretation and making corrections on the spot. An assumption is put forward about the connection of such a conventional way of presentation with Maksymenko's tendency to conceptualize the creative process, to reduce painting works-objects to the most laconic physical expression, even reaching the level of dematerialization; the return of such transformed images to a physical state is possible in a variety of genres, in which the visual counterpart can serve as an effective means of conveying content. The construction of a close connection between the paintings and the space was noted, in which with the help of additional elements a renewed landscape environment is created – it has its own expression, develops and complements the theme of the exhibited works. Therefore, in addition to painting, presented in the Reflections, visualization can sometimes be perceived as the idea of an installation, thanks to the introduction of a person – as a performance project, or to interpret an exhibition, so deeply connected with the environment, as a form of environmental art. It is assumed that due t
{"title":"Alfred Maksymenko “A-vision” as an authorial form of virtual exposition","authors":"Andrii Helytovych","doi":"10.37131/2524-0943-2024-52-4","DOIUrl":"https://doi.org/10.37131/2524-0943-2024-52-4","url":null,"abstract":"Using the example of works up to 2019, the author's method of virtual exposition of paintings \"A-vision\" of the famous Lviv contemporary artist and teacher A. Maksymenko is considered.\u0000The goal is to single out and characterize the key features of the author's approach to the problem of virtual exhibition of works of art. The subject of the study is the inherent features of the combination of works of art with the exhibition environment in the \"A-vision\" form proposed by Maksymenko. Conclusions about the nature of the construction of the virtual space are drawn up in connection with the necessary concise analysis of the key features of the presented works. The considered samples include the works of 2006-2019, which present painting series about the impressions of visiting cities, combined into a cycle of album-catalogues \"Reflections\", work on which continues to this day. The A-vision formula based on the example of Reflections provides an exhibition project for a real space, but an independent presentation of paintings is also provided. The analysis of paintings in the article is presented only to the extent that it is necessary to reveal the peculiarities of visualization in the medium on which the emphasis is placed.\u0000Since the author's virtual expositions have not yet been publicly widely presented and continue to be in a state of development, they have not yet become the subject of special investigations. The primary analysis of A-vision expositions convinces of the presence of interesting author's finds in the way of virtual presentation of artworks, which constitute value and novelty within the framework of art research. Visualization of the exposition takes place both in two- and three-dimensional space, includes elements of collage, and the materialization of the exhibition in A-vision is foreseen, although not mandatory, and requires active creative interpretation and making corrections on the spot. An assumption is put forward about the connection of such a conventional way of presentation with Maksymenko's tendency to conceptualize the creative process, to reduce painting works-objects to the most laconic physical expression, even reaching the level of dematerialization; the return of such transformed images to a physical state is possible in a variety of genres, in which the visual counterpart can serve as an effective means of conveying content. The construction of a close connection between the paintings and the space was noted, in which with the help of additional elements a renewed landscape environment is created – it has its own expression, develops and complements the theme of the exhibited works. Therefore, in addition to painting, presented in the Reflections, visualization can sometimes be perceived as the idea of an installation, thanks to the introduction of a person – as a performance project, or to interpret an exhibition, so deeply connected with the environment, as a form of environmental art. It is assumed that due t","PeriodicalId":246398,"journal":{"name":"Bulletin of Lviv National Academy of Arts","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141834886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-12
Khrystyna Shevchuk
The main objectives of the study are to identify and analyze the ways of using 3D technologies in clothing design at the beginning of the 21st century. The subject of this study is the consideration of the influence of digital technologies on the processes of creation, production, distribution, and consumption of clothing. The scientific novelty of the study consists of the systematization of the ways of using digital 3D technologies in modern designer collections and the analysis of their influence at the stages of designing, manufacturing, and displaying clothes. In addition, the importance of introducing these technologies into the process of design education is emphasized. The methodology of this study is based on analytical, historical, and cultural-historical methods, as well as the method of formal analysis, which made it possible to consider the topic from different angles. The results of the study. The basic factors and reasons for its popularity, the advantages, and the problems of using 3D visualization methods in fashion design at the beginning of the 21st century are analyzed. Flexibility, high variability, ease of making changes, and forecasting in the process of 3D creating clothes are emphasized. Emphasis is placed on the environmental friendliness of 3D clothing design. The main practical applications of 3D tools in clothing design have been identified, and the impact of 3D visualization on digital transformation in clothing design has been examined. The current state of development of digital fashion within companies, digital platforms, and the creativity of individual foreign and Ukrainian designers has been traced, and the contributions of specific creative individuals to the formation of contemporary fashion trends have been reviewed. The role of implementing 3D technologies in the education process of clothing designers is emphasized, and practical methods of their application are demonstrated using the works of students from the Costume Design Department at the Lviv National Academy of Arts. The article comprises a comparative analysis of virtual prototypes and real garment models, identifying compositional, technological, and artistic characteristics of such products. Students who use 3D visualization tools have been proven to demonstrate higher levels of technological competence and creativity, which affects the quality and effectiveness of their design products. The conclusions of the article underscore the necessity of integrating 3D visualization into the educational process in line with the requirements of the modern fashion industry
本研究的主要目标是确定和分析 21 世纪初服装设计中使用 3D 技术的方式。本研究的主题是考虑数字技术对服装创作、生产、销售和消费过程的影响。本研究的科学新颖性在于系统化现代设计师系列中使用数字 3D 技术的方式，并分析其在服装设计、生产和展示阶段的影响。此外，还强调了在设计教育过程中引入这些技术的重要性。本研究的方法基于分析、历史和文化历史方法，以及形式分析方法，这使得从不同角度考虑该主题成为可能。研究结果。分析了 21 世纪初三维可视化方法在服装设计中流行的基本因素和原因、优势以及存在的问题。强调了三维创建服装过程中的灵活性、高可变性、易更改性和预测性。强调了三维服装设计的环保性，明确了三维工具在服装设计中的主要实际应用，并探讨了三维可视化对服装设计数字化转型的影响。文章追溯了数字时尚在公司、数字平台以及外国和乌克兰设计师个人创造力中的发展现状，并回顾了特定创造性个人对当代时尚趋势形成的贡献。文章强调了在服装设计师教育过程中实施三维技术的作用，并通过利沃夫国立艺术学院服装设计系学生的作品展示了其实际应用方法。文章对虚拟原型和真实服装模型进行了比较分析，确定了此类产品的构成、技术和艺术特点。事实证明，使用三维可视化工具的学生能够展现出更高水平的技术能力和创造力，从而影响其设计产品的质量和效果。文章的结论强调了根据现代时装业的要求将三维可视化融入教育过程的必要性。
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Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-8
Natalia Rudenko-Kraevska
The article examines the conditions for the formation and development of Ukrainian theatrical design schools of the XX century in the context of the revolutionary processes of European and Ukrainian theatre art. The causes and consequences of the introduction into European and Ukrainian theatrical design practice of two theatre reforms of the XX century are determined, as well as the impact on the educational process of changing the function of the theatre in society, the tasks of theatrical design and the role of the theatrical designer in creating a performance. The conditions of emergence and development, creative platforms and pedagogical methods of the largest Ukrainian theatrical design schools are analyzed: the model workshop at the «Berezil» theatre of Les Kurbas and Vadym Meller in the 20-s — 30-s of the ХХ century; academic school of theatrical design at the Boris Kosarev Kharkov Art Institute of the 20-s — 60-s of the ХХ century; theatrical design laboratories at the theatre society and at the Kyiv Art Institute of Danylo Lider in the 70-s —80-s of the XX century and the Lvov school of practical theatrical design at the end of the 20th century. It has been found that no systematic scientific studies of the art of theatrical design, as a special type of fine art, are being conducted in Ukraine today. It is noted that one educational program is critically insufficient to meet the needs of Ukrainian theatres for professional theatrical designers. Especially, taking into account the significant change in the arsenal of theatrical designers' tools: the replacement of picturesque backdrops with video projections; expansion of possibilities of light equipment, development of digital 3d technologies, etc.; as well as the «de-dramatization» of the performance — the replacement of the plot with a chronic image, montage, collage, and bringing the theatre art closer to the happening, the performance of the environment, where the emphasis is shifted from the work to the process of art activity itself. Thus, the article proves that new realities require an urgent increase in the number of professional theatrical designers and the updating of educational methods of the modern Ukrainian school of theatrical design, both taking into account the methodological experience of previous national theatrical design schools, and in accordance with the new challenges of the time. The opening of the new educational program «Theatrical design» is an urgent need for the successful development of Ukrainian theatrical art and further integration into the European cultural space.
文章在欧洲和乌克兰戏剧艺术革命进程的背景下研究了二十世纪乌克兰戏剧设计学校形成和发展的条件。文章确定了二十世纪两次戏剧改革引入欧洲和乌克兰戏剧设计实践的原因和后果，以及改变戏剧在社会中的功能、戏剧设计的任务和戏剧设计师在创作演出中的作用对教育过程的影响。对乌克兰最大的戏剧设计学校的产生和发展条件、创作平台和教学方法进行了分析：Х世纪 20-30 年代 Les Kurbas 和 Vadym Meller 的 "Berezil "剧院示范工作室；Х世纪 20-60 年代 Boris Kosarev Kharkov 艺术学院戏剧设计学术学校；20 世纪 70-80 年代在剧院协会和达尼洛-利德（Danylo Lider）基辅艺术学院的戏剧设计实验室，以及 20 世纪末的利沃夫实用戏剧设计学校。研究发现，戏剧设计艺术作为一种特殊的美术类型，目前在乌克兰尚未开展系统的科学研究。需要指出的是，一个教育计划远远不能满足乌克兰剧院对专业戏剧设计师的需求。特别是，考虑到戏剧设计师的工具库发生了重大变化：视频投影取代了风景如画的背景；灯光设备的可能性扩大，数字 3d 技术的发展等；以及表演的 "去戏剧化"--用慢性图像、蒙太奇、拼贴取代情节，使戏剧艺术更贴近发生、环境的表现，重点从作品转移到艺术活动过程本身。因此，文章证明，新的现实迫切需要增加专业戏剧设计师的数量，更新现代乌克兰戏剧设计学校的教育方法，既要考虑到以前国家戏剧设计学校的方法经验，又要符合时代的新挑战。开设新的 "戏剧设计 "教育课程是乌克兰戏剧艺术成功发展和进一步融入欧洲文化空间的迫切需要。
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Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-10
Mykola Maychyk, R. Patyk
The article analyzes a portion of the fundamental world and Ukrainian sources on the formation and development of the genre of fashion photography in Ukraine. A brief tour of the works of foreign scientists who fully or partially researched the genre of fashion photography of the XX-XXI centuries — Roland Barthes (1967), Nancy Hall-Duncan (1978), Margaret Maynard (2008), Eugenie Shinkle (2008) and Karena De Perthuis (2020) was conducted. The main aspects from which existing studies were carried out were studied. It is noted that the rise in popularity of the photographic genre in Ukraine occurred in the first quarter of the XX century, which is a main reason of the narrow number of scientific studies in the field, as well as the lack of academic recognition of the genre. The share of works of Ukrainian scientists on the topic of studying the genre of fashion photography - N. Chuprina and V. Batrak (2011), O. Trachun (2014), I. Skoryk (2023) and S. Tulchynska (2023) was analyzed. It is acknowledged that the Ukrainian scientific space contains an insufficient number of works devoted to fashion photography, which indicates the need for further expansion of the scientific analysis of this photo genre, systematization of its development and influence in the Ukrainian scientific field. The purpose of the article is to analyze international and Ukrainian scientific sources that cover the key details of the formation and development of the genre of fashion photography.
文章分析了有关乌克兰时尚摄影流派形成和发展的部分世界和乌克兰基本资料。文章对全面或部分研究二十至二十一世纪时尚摄影流派的外国科学家--罗兰-巴特（Roland Barthes，1967 年）、南希-霍尔-邓肯（Nancy Hall-Duncan，1978 年）、玛格丽特-梅纳德（Margaret Maynard，2008 年）、尤金妮-辛格（Eugenie Shinkle，2008 年）和卡琳娜-德-佩尔蒂斯（Karena De Perthuis，2020 年）--的作品进行了简要回顾。对现有研究的主要方面进行了研究。我们注意到，摄影流派在乌克兰的兴起是在二十世纪第一季度，这也是该领域科学研究数量较少以及该流派缺乏学术认可的主要原因。我们分析了乌克兰科学家在时尚摄影流派研究方面的作品份额--N. Chuprina 和 V. Batrak (2011)、O. Trachun (2014)、I. Skoryk (2023) 和 S. Tulchynska (2023)。人们承认，乌克兰科学领域中有关时尚摄影的作品数量不足，这表明有必要进一步扩大对这一摄影流派的科学分析，系统化其在乌克兰科学领域的发展和影响。本文旨在分析国际和乌克兰的科学资料，这些资料涵盖了时尚摄影流派形成和发展的关键细节。
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Pub Date : 2024-07-11DOI: 10.37131/2524-0943-2024-52-11
I. Syvash
The article considers the possibilities of using modern Ukrainian vytynanka in interior design and graphic design, made with due regard for original Ukrainian traditions. The historical and social prerequisites for the development of this type of art are outlined, since vytynanka has powerful creative possibilities, harmoniously combining art and craft. It is emphasized that the production of vytynanka does not require a special material and technical base, and this allows many amateur artists to realize their creative potential, involving them in folk culture. It has been determined that Ukrainian vytynanka as a component of ethno-design is a form of creative activity with a pronounced ethnic component based on folk traditions, synthesizing artistic and technical components and having the prospect of mass replication of these products. At the same time, Ukrainian vytynanka can be used in art therapy to support people in difficult life circumstances, as well as as a means of national and patriotic education of young people, as it helps to affirm the national identity of Ukrainians. Vytynanka can be used to draw the world's attention to Ukrainian culture, which is an important task during the war in Ukraine. Vytynanka, thanks to its appeal to folklore sources, accessibility, mass production, and simplicity, can influence the development of Ukrainian ethnic design, which in the future, during the postwar development of Ukraine, should become the basis for the revival of culture, spiritual values, and self-identification of Ukrainians. The creative modernization of such a traditional art form as vytynanka will contribute to the development of the national style and the establishment of Ukraine's cultural image in the world. The purpose of the study is to identify current trends in the development of Ukrainian vytynanka in the context of ethnic design, considering its potential for further popularization of Ukrainian culture in the field of design. The methodology is based on comparative-historical, descriptive, analytical, and art historical methods to determine the culture-creating potential of vytynanka as a component of folk material culture and a trend in contemporary ethnic design at the same time. The relevance and scientific novelty lies in the consideration of the art of vytynanka of the modern period, taking into account its specificity and the possibilities of popularizing Ukrainian culture in the world with the help of ethnodesign as a materialized means of artist's expression.
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