Pub Date : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279025
T. Bozhko, I. Aleksieienko
The purpose of the article is to establish the most probable determinants for the classification of interactive advertising and to identify and systematise, on their basis, the variable forms of implementation of advertising messages, as well as to establish the possibility of their interaction. Research methodology: the method of complex analysis was applied. The scientific novelty is the systematisation of scholars’ views on the typology of interactive advertising, its updating, and supplementation. It is established that the classifications of interactive advertising presented so far have already lost their relevance since they were limited by the platforms of placement of advertising messages or forms of broadcasting and did not take into account the conditions of the interaction of various technologies in the process of implementing interactive advertising messages. This study, based on a synthesis of such determinants as creation and distribution technologies, as well as forms of content and the nature of interaction with consumers, identifies the following types of interactive advertising: advertising via mobile communications and television; advertising on the Internet; environmental installations (with and without gadgets); events and activities. It is found that mobile communication technologies are currently a connecting link between most forms of interactive communications and remain effective both as a separate form of advertising and in combination with television and Internet advertising. It has also been established that innovative technologies of augmented reality (AR) and virtual reality (VR) can be classified as differentiated types of advertising messages, depending on the presence of programmed or spontaneous transformations under the influence of the interaction of advertising messages based on these technologies with consumers. Transformations absence allows them to be classified as environmental installations, while the presence of a variable plot and scenario leads to the classification of AR and VR as events and activities. Conclusions: interactive advertising design involves the deliberate use of variable forms of its implementation, the choice and justification of which should be facilitated by the typology presented by us. The possibility of differentiating between different types of interactive advertising and taking into account their features is confirmed by a thorough analysis of each type of interactive advertising. Thus, we get a holistic picture based on which we can build advertising strategies, and offer the most effective ways to communicate with consumers and use one or more of the above types of advertising messages.
{"title":"Interactive Advertising Typology","authors":"T. Bozhko, I. Aleksieienko","doi":"10.31866/2617-7951.6.1.2023.279025","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279025","url":null,"abstract":"The purpose of the article is to establish the most probable determinants for the classification of interactive advertising and to identify and systematise, on their basis, the variable forms of implementation of advertising messages, as well as to establish the possibility of their interaction. Research methodology: the method of complex analysis was applied. The scientific novelty is the systematisation of scholars’ views on the typology of interactive advertising, its updating, and supplementation. It is established that the classifications of interactive advertising presented so far have already lost their relevance since they were limited by the platforms of placement of advertising messages or forms of broadcasting and did not take into account the conditions of the interaction of various technologies in the process of implementing interactive advertising messages. This study, based on a synthesis of such determinants as creation and distribution technologies, as well as forms of content and the nature of interaction with consumers, identifies the following types of interactive advertising: advertising via mobile communications and television; advertising on the Internet; environmental installations (with and without gadgets); events and activities. It is found that mobile communication technologies are currently a connecting link between most forms of interactive communications and remain effective both as a separate form of advertising and in combination with television and Internet advertising. It has also been established that innovative technologies of augmented reality (AR) and virtual reality (VR) can be classified as differentiated types of advertising messages, depending on the presence of programmed or spontaneous transformations under the influence of the interaction of advertising messages based on these technologies with consumers. Transformations absence allows them to be classified as environmental installations, while the presence of a variable plot and scenario leads to the classification of AR and VR as events and activities. Conclusions: interactive advertising design involves the deliberate use of variable forms of its implementation, the choice and justification of which should be facilitated by the typology presented by us. The possibility of differentiating between different types of interactive advertising and taking into account their features is confirmed by a thorough analysis of each type of interactive advertising. Thus, we get a holistic picture based on which we can build advertising strategies, and offer the most effective ways to communicate with consumers and use one or more of the above types of advertising messages.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43477646","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279067
Olena Didenko
Research aim is to study the content aspects of visual advertising images that have been spread by media advertising in Ukraine in recent years and were created before the full-scale invasion of the russian federation. The research methodology is based on an analytical and comparative aspect and combines general scientific and special methods that provide an opportunity to consider the ″visual image″ concept through the prism of advertising design. Scientific novelty. The article examines successful Ukrainian media advertising in recent years and reveals the commitment of Ukrainian advertisers to anthropocentrism in direct and indirect manifestations. The advertising visual image is constructed from design elements, which are mostly signs-indexes and signs-symbols of the active way of Ukrainians’ lives and the spectrum of their emotional states. Conclusions. Visual images are of particular importance because they are stored in the memory much longer compared to the read advertising text. Visual communication combines color, language, writing, and images, which together create a single message, aesthetically pleasing to the recipient’s eyes, and filled with understandable and necessary information. The desired effect is achieved due to the successful synthesis of concepts of presentation of visual material (the most popular: anthropocentrism, emotional marketing, the ″problem-solution″ method, and ″comparison limits″). Techniques and means of designing the visual image of advertising at its various levels play an increasingly significant role, as they allow effective influence on recipients not by increasing the number of advertising messages, but by creating internal connections between parts of the advertising text, image, commercial, and also between individual advertising messages. We see the prospects for further scientific research in the study of static and dynamic parameters of visuality in the space of modern media.
{"title":"Content Aspects of Advertising Images of Modern Media Advertising in Ukraine","authors":"Olena Didenko","doi":"10.31866/2617-7951.6.1.2023.279067","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279067","url":null,"abstract":"Research aim is to study the content aspects of visual advertising images that have been spread by media advertising in Ukraine in recent years and were created before the full-scale invasion of the russian federation. The research methodology is based on an analytical and comparative aspect and combines general scientific and special methods that provide an opportunity to consider the ″visual image″ concept through the prism of advertising design. Scientific novelty. The article examines successful Ukrainian media advertising in recent years and reveals the commitment of Ukrainian advertisers to anthropocentrism in direct and indirect manifestations. The advertising visual image is constructed from design elements, which are mostly signs-indexes and signs-symbols of the active way of Ukrainians’ lives and the spectrum of their emotional states. Conclusions. Visual images are of particular importance because they are stored in the memory much longer compared to the read advertising text. Visual communication combines color, language, writing, and images, which together create a single message, aesthetically pleasing to the recipient’s eyes, and filled with understandable and necessary information. The desired effect is achieved due to the successful synthesis of concepts of presentation of visual material (the most popular: anthropocentrism, emotional marketing, the ″problem-solution″ method, and ″comparison limits″). Techniques and means of designing the visual image of advertising at its various levels play an increasingly significant role, as they allow effective influence on recipients not by increasing the number of advertising messages, but by creating internal connections between parts of the advertising text, image, commercial, and also between individual advertising messages. We see the prospects for further scientific research in the study of static and dynamic parameters of visuality in the space of modern media.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135381642","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279038
N. Pshinka
The purpose of the research: analysis of the architecture of Mykola Pshinka’s Indi- an-themed books as a harmonious unity of ar- tistic-graphic and structural-compositional ele- ments, the role of stylization tools in the design of children’s publications to achieve synergy of the text and the illustrative series (collections "Feather of the Pink Chakva", "Indian Folk Tales", "Myths of Ancient India"). Research methods: systematization of scientific sources, inter- views, empirical observations and their descrip- tion, artistic analysis, synthesis and generaliza- tion of the obtained results. The results of the research: the peculiarities of the architecture of M. Pshinka’s editions of Indian themes and the artistic interpretation of the ancient Indian epic as a synthesis of the features of the indi- vidual author’s style of the Ukrainian artist and the elements of Indian national color used by him are considered. Emphasis is placed on the importance of visual communication, achiev- ing empathy with the young reader, who is the most important participant in the creative pro- cess, conveying not only the ideological, but also the emotional content of the book through illustrative and constructive means. A compar- ative characterization of the means of artistic expression in the illustration and design-layout of books for readers of different ages was car- ried out: taking into account the psychological features of the perception of visual images by children and the criteria of the quality of the publication: ideological, aesthetic, socio-psy- chological, ergonomic qualities. Scientific nov- elty: books on Indian subjects by M. Pshinka as a syncretic artistic phenomenon, characterized by integral architecture, a synthesis of texts, il- lustrations, decorative elements, design-layout are for the first time comprehensively and multi- facetedly considered. On the basis of a compar- ative analysis of the artistic design of the books "Indian Folk Tales" and "Myths of Ancient India", the features of the design of publications for children of different ages, junior and senior high school, were commented.
{"title":"Architecture of Books on Indian Topics by Mykola Pshinka","authors":"N. Pshinka","doi":"10.31866/2617-7951.6.1.2023.279038","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279038","url":null,"abstract":"The purpose of the research: analysis of the architecture of Mykola Pshinka’s Indi- an-themed books as a harmonious unity of ar- tistic-graphic and structural-compositional ele- ments, the role of stylization tools in the design of children’s publications to achieve synergy of the text and the illustrative series (collections \"Feather of the Pink Chakva\", \"Indian Folk Tales\", \"Myths of Ancient India\"). Research methods: systematization of scientific sources, inter- views, empirical observations and their descrip- tion, artistic analysis, synthesis and generaliza- tion of the obtained results. The results of the research: the peculiarities of the architecture of M. Pshinka’s editions of Indian themes and the artistic interpretation of the ancient Indian epic as a synthesis of the features of the indi- vidual author’s style of the Ukrainian artist and the elements of Indian national color used by him are considered. Emphasis is placed on the importance of visual communication, achiev- ing empathy with the young reader, who is the most important participant in the creative pro- cess, conveying not only the ideological, but also the emotional content of the book through illustrative and constructive means. A compar- ative characterization of the means of artistic expression in the illustration and design-layout of books for readers of different ages was car- ried out: taking into account the psychological features of the perception of visual images by children and the criteria of the quality of the publication: ideological, aesthetic, socio-psy- chological, ergonomic qualities. Scientific nov- elty: books on Indian subjects by M. Pshinka as a syncretic artistic phenomenon, characterized by integral architecture, a synthesis of texts, il- lustrations, decorative elements, design-layout are for the first time comprehensively and multi- facetedly considered. On the basis of a compar- ative analysis of the artistic design of the books \"Indian Folk Tales\" and \"Myths of Ancient India\", the features of the design of publications for children of different ages, junior and senior high school, were commented.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47081222","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279035
A. Budnyk, Valeriia Lazebniuk
The purpose of the article is to reveal the specifics of transformation of visual language as the artistic reflection on Dante’s images in European art practices, in particular in graphic design. The research methodology requires a comprehensive approach and involves the use of methods of art analysis, an empirical method of gathering theoretical and historical material, a method of comparison and generalization. The research uses general scientific methods, in particular the analysis and systematization of scientific literature on the topic of investigation. The historical-factual method was used to identify historical processes and factors that influenced the development of transformation of the visual language of illustration and other visual practices based on it. The scientific novelty is in conducting a comparative analysis of visual images based on the study of visualization of classical literature works. Interpretation of the images of this classic of world literature is given by a number of artists from Sandro Botticelli to Giovanni Tommasi Ferroni, as well as the presence of images of the “Divine Comedy” in mass and pop cultures are considered: the popularization of Dante, the exploitation of his image in the mass market through graffiti, cartoons, visual novels, websites, profiles in social networks, etc. Methods of adapting Dante’s stylistics for a modern viewer, accustomed to clip products, manifestations of distribution in the most popular social networks, have been determined. Conclusions. The research shows that the unique world of visual language in the illustration and design of book publications is transformed with the help of subjective artistic vision in order to maintain the interest of a modern reader of the pre-classical heritage. As a result of the research, we come to the conclusion that the popularization of the image of Dante in mass culture depends on the individual factor of the world perception of the artist as a creative personality. World classical art becomes the basis for the emergence of new sources of author’s creative approaches to the visual reinterpretation of the achievements of civilization. The process of transformation of the visual language of illustrations as components of graphic design ensures long-term support of the spread of images of the “Divine Comedy” not only in Dante Alighieri’s homeland, but also in the European art landscape.
{"title":"Visual Transformations of the Images of Dante Alighieri's Poem \"The Divine Comedy: Hell\" in European Art Practices","authors":"A. Budnyk, Valeriia Lazebniuk","doi":"10.31866/2617-7951.6.1.2023.279035","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279035","url":null,"abstract":"The purpose of the article is to reveal the specifics of transformation of visual language as the artistic reflection on Dante’s images in European art practices, in particular in graphic design. The research methodology requires a comprehensive approach and involves the use of methods of art analysis, an empirical method of gathering theoretical and historical material, a method of comparison and generalization. The research uses general scientific methods, in particular the analysis and systematization of scientific literature on the topic of investigation. The historical-factual method was used to identify historical processes and factors that influenced the development of transformation of the visual language of illustration and other visual practices based on it. The scientific novelty is in conducting a comparative analysis of visual images based on the study of visualization of classical literature works. Interpretation of the images of this classic of world literature is given by a number of artists from Sandro Botticelli to Giovanni Tommasi Ferroni, as well as the presence of images of the “Divine Comedy” in mass and pop cultures are considered: the popularization of Dante, the exploitation of his image in the mass market through graffiti, cartoons, visual novels, websites, profiles in social networks, etc. Methods of adapting Dante’s stylistics for a modern viewer, accustomed to clip products, manifestations of distribution in the most popular social networks, have been determined. Conclusions. The research shows that the unique world of visual language in the illustration and design of book publications is transformed with the help of subjective artistic vision in order to maintain the interest of a modern reader of the pre-classical heritage. As a result of the research, we come to the conclusion that the popularization of the image of Dante in mass culture depends on the individual factor of the world perception of the artist as a creative personality. World classical art becomes the basis for the emergence of new sources of author’s creative approaches to the visual reinterpretation of the achievements of civilization. The process of transformation of the visual language of illustrations as components of graphic design ensures long-term support of the spread of images of the “Divine Comedy” not only in Dante Alighieri’s homeland, but also in the European art landscape.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49441996","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279080
V. Snisarenko, Anastasiia Snisarenko-Yerzhykovska
The aim of the study. In the terrible times of the Russian invasion, which aims to erase the existence of the Ukrainian state even in a theoretical aspect, the issue of national Ukrainian identity comes to the fore with ultimate certainty. The enemy with inhuman cruelty not only kills peaceful Ukrainians, bombs cities and villages, but also tries to destroy cultural assets by destroying museums, schools, and cultural institutions. Only a deep knowledge of the origins of one’s national culture, their research, rethinking and transformation into the latest ideas in art, design and architecture can bring a modern Ukrainian artist to the heights of patriotic consciousness and a worthy level of artistic contribution. A look at the creative and life path of V. Krychevsky becomes evidence of the need to study the roots of national culture in the field of architecture, design of spaces and objects of graphic design of ornament, form-making on the example of his research in these areas. Research methods. Art history analysis of existing materials related to V. Krychevskyi and the application of research results for the understanding of modernity. Scientific novelty. This edition is a synthesis of biographical information about the artist with the personal impressions of the authors of the article from communication with people who were in direct contact with V. Krychevsky at work and in everyday life. The article also gives a holistic view of the combination of three directions of intellectual work in the personality of V. Krychevsky: research, artistic design, and scientific. It is such a synthesis of knowledge, skills and worldview stability that withstands the test of socio-political cataclysms, which gives an opportunity to show talent and create significant projects for the development of Ukrainian identity. Conclusions. As a result of the full-scale invasion of Russia, the idea of the need to create cultural products on a national basis, including design sphere, became more relevant than ever during the independence of Ukraine. This issue has been constantly raised in scientific and popular publications, as well as in individual projects, but not so massively and not so consciously aware of the depth of the need for knowledge about national heritage and such an approach in one’s creativity. The life story of V. Krychevsky is proof of the spiral development of history and the need to know the roots of the national code for a reasoned position about one’s own culture, statehood and will for the whole world. The artist’s creative and life path, the core of which was confidence in the necessity of knowledge of one’s cultural and historical origins and the implementation of these principles, is an extremely relevant example for artists and ordinary citizens in our difficult time, when imperial Russia is trying to destroy Ukrainian identity.
{"title":"The Need for Demonstrable Knowledge of the Origins of National Culture on the Example of Vasyl Krychevsky's Design Projects","authors":"V. Snisarenko, Anastasiia Snisarenko-Yerzhykovska","doi":"10.31866/2617-7951.6.1.2023.279080","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279080","url":null,"abstract":"The aim of the study. In the terrible times of the Russian invasion, which aims to erase the existence of the Ukrainian state even in a theoretical aspect, the issue of national Ukrainian identity comes to the fore with ultimate certainty. The enemy with inhuman cruelty not only kills peaceful Ukrainians, bombs cities and villages, but also tries to destroy cultural assets by destroying museums, schools, and cultural institutions. Only a deep knowledge of the origins of one’s national culture, their research, rethinking and transformation into the latest ideas in art, design and architecture can bring a modern Ukrainian artist to the heights of patriotic consciousness and a worthy level of artistic contribution. A look at the creative and life path of V. Krychevsky becomes evidence of the need to study the roots of national culture in the field of architecture, design of spaces and objects of graphic design of ornament, form-making on the example of his research in these areas. Research methods. Art history analysis of existing materials related to V. Krychevskyi and the application of research results for the understanding of modernity. Scientific novelty. This edition is a synthesis of biographical information about the artist with the personal impressions of the authors of the article from communication with people who were in direct contact with V. Krychevsky at work and in everyday life. The article also gives a holistic view of the combination of three directions of intellectual work in the personality of V. Krychevsky: research, artistic design, and scientific. It is such a synthesis of knowledge, skills and worldview stability that withstands the test of socio-political cataclysms, which gives an opportunity to show talent and create significant projects for the development of Ukrainian identity. Conclusions. As a result of the full-scale invasion of Russia, the idea of the need to create cultural products on a national basis, including design sphere, became more relevant than ever during the independence of Ukraine. This issue has been constantly raised in scientific and popular publications, as well as in individual projects, but not so massively and not so consciously aware of the depth of the need for knowledge about national heritage and such an approach in one’s creativity. The life story of V. Krychevsky is proof of the spiral development of history and the need to know the roots of the national code for a reasoned position about one’s own culture, statehood and will for the whole world. The artist’s creative and life path, the core of which was confidence in the necessity of knowledge of one’s cultural and historical origins and the implementation of these principles, is an extremely relevant example for artists and ordinary citizens in our difficult time, when imperial Russia is trying to destroy Ukrainian identity.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49102054","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279062
V. Oliinyk
The purpose of the study is to outline the artistic and communicative transformations of the Ukrainian book, which reflect the modern visual paradigm, as well as to highlight their influence on the further development of domestic book design. Research methods include theoretical, source-scientific, comparative, chronological and analytical. Scientific novelty. It was found that transformations of artistic and communicative possibilities in domestic book design were actively manifested, primarily due to the development of innovative alternative book forms, as well as the reaction of the artistic and visual system of classical publications to the demands of the times. The main influencing factors were the visual turn in culture with the subsequent formation of a visual artistic paradigm, technological progress in design and the development of various directions of visual communications. It has been proven that the visual communication of modern domestic book editions has significantly increased compared to the book of the 20th century, as the design and projection of the book has acquired an innovative toolkit, which allowed to attract additional channels of perception. In addition, in the process of research, the mutual influence of the communicative capabilities of the book and its design development is outlined, as well as the systematization of the artistic and communicative levels of modern Ukrainian book publishing is proposed. Conclusions. The artistic characteristics of a modern book form a single harmonious field among themselves, which effectively implement communicative tasks. In particular, the visual communication of the book takes place on several levels: illustrative, compositional, spatial, provided that they are equivalent within the ensemble of each edition. However, with the strengthening of certain separate levels of communication, which occurs due to the popularization of new alternative book forms that demonstrate the advantages of separate visual-communicative channels, it is possible to state the presence of an appropriate artistic-communicative classification among the latest book products. Thus, in a classic paper book the compositional level of visual communication dominates, in a graphic novel (comics, sketches) the illustrative level of visual communication prevails, in interactive book products, on the other hand, the main visual and communicative level is the artistic space organized by the designer-developer using immersive technologies and structural layout design techniques.
{"title":"Artistic and Communicative Transformations of the Book Against the Background of the Evolution of the Visual Paradigm in Ukrainian Design","authors":"V. Oliinyk","doi":"10.31866/2617-7951.6.1.2023.279062","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279062","url":null,"abstract":"The purpose of the study is to outline the artistic and communicative transformations of the Ukrainian book, which reflect the modern visual paradigm, as well as to highlight their influence on the further development of domestic book design. Research methods include theoretical, source-scientific, comparative, chronological and analytical. Scientific novelty. It was found that transformations of artistic and communicative possibilities in domestic book design were actively manifested, primarily due to the development of innovative alternative book forms, as well as the reaction of the artistic and visual system of classical publications to the demands of the times. The main influencing factors were the visual turn in culture with the subsequent formation of a visual artistic paradigm, technological progress in design and the development of various directions of visual communications. It has been proven that the visual communication of modern domestic book editions has significantly increased compared to the book of the 20th century, as the design and projection of the book has acquired an innovative toolkit, which allowed to attract additional channels of perception. In addition, in the process of research, the mutual influence of the communicative capabilities of the book and its design development is outlined, as well as the systematization of the artistic and communicative levels of modern Ukrainian book publishing is proposed. Conclusions. The artistic characteristics of a modern book form a single harmonious field among themselves, which effectively implement communicative tasks. In particular, the visual communication of the book takes place on several levels: illustrative, compositional, spatial, provided that they are equivalent within the ensemble of each edition. However, with the strengthening of certain separate levels of communication, which occurs due to the popularization of new alternative book forms that demonstrate the advantages of separate visual-communicative channels, it is possible to state the presence of an appropriate artistic-communicative classification among the latest book products. Thus, in a classic paper book the compositional level of visual communication dominates, in a graphic novel (comics, sketches) the illustrative level of visual communication prevails, in interactive book products, on the other hand, the main visual and communicative level is the artistic space organized by the designer-developer using immersive technologies and structural layout design techniques.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42896793","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279072
Uliana Melnyk
The purpose of the article is to outline the architectural traditions and problems of preserving the artistic image of the historical buildings of Prykarpattia cities. The article deals with the political factor of the urban architectural environment development in the Ivano-Frankivsk region. The process and specifics of the architectural environment transformation are comprehended, and its systematization by periods and stylistic signs is carried out. Research methods. The research methodology is based on a comparative analysis of different periods and field surveys and recordings conducted at two levels: a general overview and an in-depth analysis by groups of representative objects, which becomes the primary material for structural analysis. The scientific novelty of the study is to identify the political factor in the development of the urban architectural environment of the Ivano-Frankivsk region. Conclusions. The political factor affected all stages of development and during the foundation of the Ivano-Frankivsk region cities. With the change of power, style concepts changed manifested in the decoration of facades and their decor. The artistic features of the renewal of the architectural environment largely depended on the guidelines of the ruling elite. Accordingly, the architectural environment of the cities of the Ivano-Frankivsk region developed under the cultural and artistic influences of Poland (Polish-Lithuanian Commonwealth), the Austro-Hungarian Empire, and the Soviet Union. Over the past decades, the influence of the political factor has been declining as a result of globalization, openness, accessibility and the revival of personal freedom of users, their tastes, and worldview. During the year, as a result of Russia’s military invasion of Ukraine, the political factor of urban development has been intensifying with renewed vigour, as issues of rebuilding particular fragments of the urban architectural environment have arisen, as well as the problem of the feasibility of adopting architectural solutions for defence construction from countries with military experience has become more relevant. The change in political relations causes a transformation of ideas related to architectural forms.
{"title":"Design of the Environment Architectural Traditions and Political Factor in the Development of Prykarpattia Cities","authors":"Uliana Melnyk","doi":"10.31866/2617-7951.6.1.2023.279072","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279072","url":null,"abstract":"The purpose of the article is to outline the architectural traditions and problems of preserving the artistic image of the historical buildings of Prykarpattia cities. The article deals with the political factor of the urban architectural environment development in the Ivano-Frankivsk region. The process and specifics of the architectural environment transformation are comprehended, and its systematization by periods and stylistic signs is carried out. Research methods. The research methodology is based on a comparative analysis of different periods and field surveys and recordings conducted at two levels: a general overview and an in-depth analysis by groups of representative objects, which becomes the primary material for structural analysis. The scientific novelty of the study is to identify the political factor in the development of the urban architectural environment of the Ivano-Frankivsk region. Conclusions. The political factor affected all stages of development and during the foundation of the Ivano-Frankivsk region cities. With the change of power, style concepts changed manifested in the decoration of facades and their decor. The artistic features of the renewal of the architectural environment largely depended on the guidelines of the ruling elite. Accordingly, the architectural environment of the cities of the Ivano-Frankivsk region developed under the cultural and artistic influences of Poland (Polish-Lithuanian Commonwealth), the Austro-Hungarian Empire, and the Soviet Union. Over the past decades, the influence of the political factor has been declining as a result of globalization, openness, accessibility and the revival of personal freedom of users, their tastes, and worldview. During the year, as a result of Russia’s military invasion of Ukraine, the political factor of urban development has been intensifying with renewed vigour, as issues of rebuilding particular fragments of the urban architectural environment have arisen, as well as the problem of the feasibility of adopting architectural solutions for defence construction from countries with military experience has become more relevant. The change in political relations causes a transformation of ideas related to architectural forms.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135381641","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279022
Liliana Vezhbovska
The purpose of the article is to study the functioning of visual narratives of Russian propaganda in the conditions of Russia’s armed war against Ukraine and consider the phenomenon in the context of postmodern theories. The research methodology is based on the application of the postmodern method of deconstruction, systematically applied to the visual texts of Russian propaganda in order to reveal hidden meanings. The novelty of the research consists in revealing the peculiarities of the functioning of the visual narratives of Russian propaganda, which, in fact, made it possible to simulate the reasons for the large-scale armed invasion of the Russian Federation in Ukraine, as well as to create masking of the real reasons for the war, which are related to the crisis phenomena of power institutions with imperial determinants that are not appropriate for modern times. Among such mechanisms the repetition of the visual narrative in various modifications and contexts was found; hiding a detail or masking it; manipulation of images (mother and homeland, motives of the collapse and resurrection of the empire-Russia-USSR, etc.). One of the non-obvious techniques was the discovery of this type of visual constructions which enter the viewer’s field of vision unnoticed and begin to work automatically at the right moment, disguising themselves as structures of axiomatic knowledge. We called this technique “inversion of automatic writing”. Conclusions. As a result of the research, we come to the conclusion that the effectiveness of Russian propaganda is ensured not so much by the quality of visual information, but by its quantity and intrusiveness, commensurate with the displacement of any other informational “noise”, as well as by the aggressiveness, emotional colour and appeallessness of the presentation. However, technological means are present. Systematic repetition of the same figurative messages in different combinations and contexts allows to bind together ideologically different topics, ranging from political and geopolitical to elementary everyday issues (store windows, American jeans, American dollars, etc.). The article also traces the stages of formation of the “enemy” image by means of propaganda, namely through the use of techniques of dehumanization and desubjectivization of the image of Ukrainians, and further – militarization and glorification of war as the sacred mission of imperial Russia. Examining the phenomenon in the context of postmodern theories testifies to a deep crisis of the power institutions of the Russian Federation, which, in the language of postmodernism, reflects the stage of a simulacrum self-reproduction. The latter makes it possible to make encouraging predictions, since the specified stage is called by postmodern theorists the last in the functioning of the system, which precedes its inevitable disintegration.
{"title":"Functioning of Visual Narratives of Russian Propaganda in the Conditions of Armed War Against Ukraine","authors":"Liliana Vezhbovska","doi":"10.31866/2617-7951.6.1.2023.279022","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279022","url":null,"abstract":"The purpose of the article is to study the functioning of visual narratives of Russian propaganda in the conditions of Russia’s armed war against Ukraine and consider the phenomenon in the context of postmodern theories. The research methodology is based on the application of the postmodern method of deconstruction, systematically applied to the visual texts of Russian propaganda in order to reveal hidden meanings. The novelty of the research consists in revealing the peculiarities of the functioning of the visual narratives of Russian propaganda, which, in fact, made it possible to simulate the reasons for the large-scale armed invasion of the Russian Federation in Ukraine, as well as to create masking of the real reasons for the war, which are related to the crisis phenomena of power institutions with imperial determinants that are not appropriate for modern times. Among such mechanisms the repetition of the visual narrative in various modifications and contexts was found; hiding a detail or masking it; manipulation of images (mother and homeland, motives of the collapse and resurrection of the empire-Russia-USSR, etc.). One of the non-obvious techniques was the discovery of this type of visual constructions which enter the viewer’s field of vision unnoticed and begin to work automatically at the right moment, disguising themselves as structures of axiomatic knowledge. We called this technique “inversion of automatic writing”. Conclusions. As a result of the research, we come to the conclusion that the effectiveness of Russian propaganda is ensured not so much by the quality of visual information, but by its quantity and intrusiveness, commensurate with the displacement of any other informational “noise”, as well as by the aggressiveness, emotional colour and appeallessness of the presentation. However, technological means are present. Systematic repetition of the same figurative messages in different combinations and contexts allows to bind together ideologically different topics, ranging from political and geopolitical to elementary everyday issues (store windows, American jeans, American dollars, etc.). The article also traces the stages of formation of the “enemy” image by means of propaganda, namely through the use of techniques of dehumanization and desubjectivization of the image of Ukrainians, and further – militarization and glorification of war as the sacred mission of imperial Russia. Examining the phenomenon in the context of postmodern theories testifies to a deep crisis of the power institutions of the Russian Federation, which, in the language of postmodernism, reflects the stage of a simulacrum self-reproduction. The latter makes it possible to make encouraging predictions, since the specified stage is called by postmodern theorists the last in the functioning of the system, which precedes its inevitable disintegration.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135381643","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279069
Daryna Vakulenko
The purpose of the article is to clarify the peculiarities of the use of Ukrainian symbols in the design of modern stage projects of a patriotic direction, in particular those that have taken place during the armed aggression of the Russian Federation in Ukraine since 2014. The research methodology involves the use of semiotic analysis to determine the semantics of images based on Ukrainian symbols; as well as art historical analysis to identify design techniques and tools that achieve the transformation of the symbolic content of a stage project. The scientific novelty of the article is to identify the figurative specifics of the use of Ukrainian symbols in the design of the identity of stage projects implemented during the armed aggression of the Russian Federation. The polysemantic nature of images based on national symbols and their ability to undergo laconic transformations, which allows transforming the meaning of antiquity into modern meanings, are revealed. Such signs acquire a new meaning and expressiveness in the current context, the context of an armed war that encroaches on the very existence of the Ukrainian state. Conclusions. The results of the study show actual changes in the design of stage projects during the military aggression by the Russian Federation. Directors and artists are increasingly turning to Ukrainian symbols based on folk archetypes and ethnic motifs. This can be observed both in the graphic conceptual design and in the emotional messages of the images based on the symbols of Ukrainian identity. It was found that each graphic element has its own meaning and associations that can be used to convey certain emotions and moods. The study found that the use of Ukrainian symbols in stage design can be an effective tool in the struggle for national identity and a sense of national dignity in times of war. Ukrainian symbols are again gaining popularity and demand not only on the territory of the Motherland, but also far beyond its borders. This trend indicates a change in the consciousness of Ukrainians and the value of the unique sacred heritage.
{"title":"Ukrainian Symbolism in the Design of Stage Projects of the War Period","authors":"Daryna Vakulenko","doi":"10.31866/2617-7951.6.1.2023.279069","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279069","url":null,"abstract":"The purpose of the article is to clarify the peculiarities of the use of Ukrainian symbols in the design of modern stage projects of a patriotic direction, in particular those that have taken place during the armed aggression of the Russian Federation in Ukraine since 2014. The research methodology involves the use of semiotic analysis to determine the semantics of images based on Ukrainian symbols; as well as art historical analysis to identify design techniques and tools that achieve the transformation of the symbolic content of a stage project. The scientific novelty of the article is to identify the figurative specifics of the use of Ukrainian symbols in the design of the identity of stage projects implemented during the armed aggression of the Russian Federation. The polysemantic nature of images based on national symbols and their ability to undergo laconic transformations, which allows transforming the meaning of antiquity into modern meanings, are revealed. Such signs acquire a new meaning and expressiveness in the current context, the context of an armed war that encroaches on the very existence of the Ukrainian state. Conclusions. The results of the study show actual changes in the design of stage projects during the military aggression by the Russian Federation. Directors and artists are increasingly turning to Ukrainian symbols based on folk archetypes and ethnic motifs. This can be observed both in the graphic conceptual design and in the emotional messages of the images based on the symbols of Ukrainian identity. It was found that each graphic element has its own meaning and associations that can be used to convey certain emotions and moods. The study found that the use of Ukrainian symbols in stage design can be an effective tool in the struggle for national identity and a sense of national dignity in times of war. Ukrainian symbols are again gaining popularity and demand not only on the territory of the Motherland, but also far beyond its borders. This trend indicates a change in the consciousness of Ukrainians and the value of the unique sacred heritage.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45968079","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 : 2023-05-12DOI: 10.31866/2617-7951.6.1.2023.279075
Rostyslav Kucher
The purpose of the article is to clarify the role of spatial design in the embodiment of the immersive experience of escape rooms and to identify the figurative, stylistic and technical factors characteristic of such design. The research methodology is based on an interdisciplinary method used to compare and contrast certain cultural, social, and artistic aspects of the topic, due to the synthetic nature of the problem under study; a comprehensive method is also used to reveal the essence of the spatial design of immersive theater. The scientific novelty of the article is to distinguish the spatial design of the quest space as an independent part of the immersive theater, to identify the features of the spatial design of quests based on the principle of immersion, in particular, taking into account the use of VR technologies that compete with the usual design of space, replacing it with virtual. Conclusions. As a result of the study, we conclude that spatial design plays a crucial role in creating immersive quests. It can range from simple scenery to complex multisensory environments, and should also take into account the ability to create various puzzles and tasks based on interaction with the room and its objects. Often, innovative technologies that involve the use of virtual or augmented reality, 3D modeling, sound design, multimedia, and other interactive elements play a crucial role in the design of escape rooms. Stylistic analysis shows that realistic style is most often preferred in the design of quests. Design in a stylistics that combines real and fantasy worlds is less common. The reason for the preference of realistic approaches is the desire to bring the environment closer to the real world. To provide a realistic atmosphere, the quest uses visual effects that can be successfully synchronized with identical sound effects. Consequently, the aforementioned figurative, stylistic, and technical criteria of the quest design process are especially conducive to achieving immersiveness, which, in fact, means creating a feeling of complete immersion of the user in the experiment. In this way, the design of physical and virtual space affects the way the audience interacts with the quest plot and can enhance or diminish the artistic intent of the production.
{"title":"The Role of Spatial Design in Implementing the Immersive Experience of Gaming Quest Rooms","authors":"Rostyslav Kucher","doi":"10.31866/2617-7951.6.1.2023.279075","DOIUrl":"https://doi.org/10.31866/2617-7951.6.1.2023.279075","url":null,"abstract":"The purpose of the article is to clarify the role of spatial design in the embodiment of the immersive experience of escape rooms and to identify the figurative, stylistic and technical factors characteristic of such design. The research methodology is based on an interdisciplinary method used to compare and contrast certain cultural, social, and artistic aspects of the topic, due to the synthetic nature of the problem under study; a comprehensive method is also used to reveal the essence of the spatial design of immersive theater. The scientific novelty of the article is to distinguish the spatial design of the quest space as an independent part of the immersive theater, to identify the features of the spatial design of quests based on the principle of immersion, in particular, taking into account the use of VR technologies that compete with the usual design of space, replacing it with virtual. Conclusions. As a result of the study, we conclude that spatial design plays a crucial role in creating immersive quests. It can range from simple scenery to complex multisensory environments, and should also take into account the ability to create various puzzles and tasks based on interaction with the room and its objects. Often, innovative technologies that involve the use of virtual or augmented reality, 3D modeling, sound design, multimedia, and other interactive elements play a crucial role in the design of escape rooms. Stylistic analysis shows that realistic style is most often preferred in the design of quests. Design in a stylistics that combines real and fantasy worlds is less common. The reason for the preference of realistic approaches is the desire to bring the environment closer to the real world. To provide a realistic atmosphere, the quest uses visual effects that can be successfully synchronized with identical sound effects. Consequently, the aforementioned figurative, stylistic, and technical criteria of the quest design process are especially conducive to achieving immersiveness, which, in fact, means creating a feeling of complete immersion of the user in the experiment. In this way, the design of physical and virtual space affects the way the audience interacts with the quest plot and can enhance or diminish the artistic intent of the production.","PeriodicalId":33447,"journal":{"name":"Demiurg ideyi tekhnologiyi perspektivi dizainu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43863321","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：