Pub Date : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269712
N. Bulavina
The article comprehensively examines NFT technology as a new phenomenon in the visual art of Ukraine. This newest component of digital art practice, despite its considerable success, has not been studied and needs to fix the main characteristics and determine the future prospects of development. Thus, the article traces the genesis of this technology, defines concepts, functions, advantages and disadvantages. The new NFT works were analyzed and the peculiarities of their influence on the perception of contemporary art by society were clarified. The author defines the place of NFT art both in the system of visual art of Ukraine and in the global creative paradigm. In addition, the discussions that are taking place in the professional artistic environment regarding the appropriate legal basis for the circulation of NFT in Ukrainian have been updated. In particular, the issues of clarifying the levels of protection and transfer of intellectual property rights of new digital assets are discussed both in the domestic situation and within the framework of international legal systems. New forms of organizing contemporary art exhibitions in the crypto world and changes in the general format of art collecting are also defined.
{"title":"Symbiosis of digits and contemporary art. The New World of NFTs","authors":"N. Bulavina","doi":"10.31500/2309-8813.18.2022.269712","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269712","url":null,"abstract":"The article comprehensively examines NFT technology as a new phenomenon in the visual art of Ukraine. This newest component of digital art practice, despite its considerable success, has not been studied and needs to fix the main characteristics and determine the future prospects of development. Thus, the article traces the genesis of this technology, defines concepts, functions, advantages and disadvantages. The new NFT works were analyzed and the peculiarities of their influence on the perception of contemporary art by society were clarified. The author defines the place of NFT art both in the system of visual art of Ukraine and in the global creative paradigm. In addition, the discussions that are taking place in the professional artistic environment regarding the appropriate legal basis for the circulation of NFT in Ukrainian have been updated. In particular, the issues of clarifying the levels of protection and transfer of intellectual property rights of new digital assets are discussed both in the domestic situation and within the framework of international legal systems. New forms of organizing contemporary art exhibitions in the crypto world and changes in the general format of art collecting are also defined.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49259485","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269739
Xia Ming
The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.
{"title":"«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto","authors":"Xia Ming","doi":"10.31500/2309-8813.18.2022.269739","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269739","url":null,"abstract":"The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45078169","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269731
M. Yur
Thanks to the work of Ukrainian composers of the post-war period (Mykola Dremliuha, Kostiantyn Miaskov, Anatolii Kolomiiets, Serhii Bashtan, Vasyl Herasymenko, etc.), the process of academization of the instrumental bandura was actively established, marked by a significant expansion of genre-style and expressive-performing paraphernalia. In this direction, an important role belongs to Kostiantyn Miaskov, an outstanding personality in composing for bandura. A vital component that forms the style of his legacy for instrumental bandura is the reliance on folk dance and folk song themes and their reinterpretation in line with academic performance. Among the author’s stylistic techniques that are most often traced in instrumental works for bandura are sequencing, variation, improvisational development of musical and thematic material, tempo and dynamic contrast, bright dynamization of the development of musical fabric, on the one hand, and organic use of timbre — phonic and technical-expressive capabilities of the instrument, on the other. The kinship of the composer’s style with the foundations of folk music thinking was manifested in the melodicism of his instrumental canvases for the bandura. Reliance on folklore became, for the artist, a factor that, to a certain extent, determined the individual style of writing of this master, where the principle of music making, typical of folk Instrumental Performance, became decisive for his compositions in the field of bandura creativity
{"title":"Discourse “academic — experimental”: theory and practice","authors":"M. Yur","doi":"10.31500/2309-8813.18.2022.269731","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269731","url":null,"abstract":"Thanks to the work of Ukrainian composers of the post-war period (Mykola Dremliuha, Kostiantyn Miaskov, Anatolii Kolomiiets, Serhii Bashtan, Vasyl Herasymenko, etc.), the process of academization of the instrumental bandura was actively established, marked by a significant expansion of genre-style and expressive-performing paraphernalia. In this direction, an important role belongs to Kostiantyn Miaskov, an outstanding personality in composing for bandura. A vital component that forms the style of his legacy for instrumental bandura is the reliance on folk dance and folk song themes and their reinterpretation in line with academic performance. Among the author’s stylistic techniques that are most often traced in instrumental works for bandura are sequencing, variation, improvisational development of musical and thematic material, tempo and dynamic contrast, bright dynamization of the development of musical fabric, on the one hand, and organic use of timbre — phonic and technical-expressive capabilities of the instrument, on the other. The kinship of the composer’s style with the foundations of folk music thinking was manifested in the melodicism of his instrumental canvases for the bandura. Reliance on folklore became, for the artist, a factor that, to a certain extent, determined the individual style of writing of this master, where the principle of music making, typical of folk Instrumental Performance, became decisive for his compositions in the field of bandura creativity","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41757593","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.273817
Олександр Федорук
The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities. Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.
本文着重于19 -20世纪之交艺术的地方孤立问题，以及乌克兰-波兰创作接触在建立乌克兰艺术话语中的作用。K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska这些今天被遗忘的艺术家的作品被经验交流的重要性和寻找新意象的需要所识别。上述艺术家与I. Rashevskyi, M. Pymonenko和Ya一起演出。Stanislavskyi。特别是通过他的教学活动，研究了后者与乌克兰的联系。此外，波兰造型艺术在波兰和国外(基辅，敖德萨)的特点被追踪，以及展览和事件，这对我们理解波兰和乌克兰之间的关系至关重要。事实证明，由于新的艺术社团、博物馆的出现，以及艺术学校日益增长的作用，基辅已经成为新一代波兰艺术家展示自己的专业平台。文章还追溯了乌克兰和波兰文化对19世纪末至20世纪初欧洲艺术新现象出现的影响。
{"title":"The Kyiv artistic life in the late 19th and early 20th centuries. Polish discourse","authors":"Олександр Федорук","doi":"10.31500/2309-8813.18.2022.273817","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.273817","url":null,"abstract":"The article focuses on the problem of the local isolation of art at the turn of the 19th-20th century and the role of Ukrainian-Polish creative contacts in establishing Ukrainian artistic discourse. The works of K. Pryzhikhovskyi, A. Kendzerskyi, P. Vasylchenko, K. Ivanytska, artists who are half-forgotten today, were discerned by the importance of experience exchange and the need to find new imagery. The aforementioned artists performed together with I. Rashevskyi, M. Pymonenko, and Ya. Stanislavskyi. The connection of the latter with Ukraine is studied in particular through his pedagogical activities.\u0000Also, the characteristic features of Polish plastic arts in Poland and outside the country (Kyiv, Odesa) are traced, as well as exhibitions and events that are crucial for our understanding of the ties between Poland and Ukraine. It is proved that because of the emergence of new artistic societies, museums, and the growing role of art schools, Kyiv has become the professional platform where new generations of Polish artists have asserted themselves. The article also traces the impact of Ukrainian and Polish culture on the emergence of new phenomena in European art of the late 19th — early 20th century.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69926729","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.279650
Iryna Bermes
The article reveals the peculiarities of organizing and conducting music festivals, considering Ukrainian society’s challenges in the current socio-cultural situation. Despite the full-scale Russian war, music festivals are taking place in the cultural space of Ukraine, which are a manifestation of interaction and dialogue between musicians, a representative of current ideas of contemporary performing arts. The aim of the paper is to outline the problems faced by the organizers of music festivals in their preparation and conduct. The article uses general scientific research methods, namely, analysis, synthesis, and generalization, which together make it possible to reveal the essence of the organizational aspects of music festivals.
{"title":"On the issue of organizing and holding music festivals","authors":"Iryna Bermes","doi":"10.31500/2309-8813.18.2022.279650","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.279650","url":null,"abstract":"The article reveals the peculiarities of organizing and conducting music festivals, considering Ukrainian society’s challenges in the current socio-cultural situation. Despite the full-scale Russian war, music festivals are taking place in the cultural space of Ukraine, which are a manifestation of interaction and dialogue between musicians, a representative of current ideas of contemporary performing arts. The aim of the paper is to outline the problems faced by the organizers of music festivals in their preparation and conduct. The article uses general scientific research methods, namely, analysis, synthesis, and generalization, which together make it possible to reveal the essence of the organizational aspects of music festivals.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42617184","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269657
Ruslana Bezuhla
The article analyzes the peculiarities of conducting contests and festivals in Ukraine in the conditions of a full-scale invasion of Russian troops into Ukraine. Significant security risks, which are still present in many regions of the country, led to the search for new formats of events. It was found that the key tasks of artistic events were: support of the moral spirit of society, accumulation of aid for the Armed Forces, promotion of Ukrainian culture both in Ukraine and abroad. The change in the format of the event itself is due to the specified tasks: the theme of war has become an important part of the theme of the festivals, and the charitable focus of the events has acquired key importance. Territorial changes are associated both with a threatening situation in some regions and with cooperation and support from other events located in safer places. The purpose of the article is to create a comprehensive archive of materials that will allow analyzing the functioning of the competition-festival movement of Ukraine during the time of Russian military aggression, understanding the cultural strategies determined by the tasks of the military today. Methodology of work. The article uses the following general scientific approaches, principles and methods that made it possible to consider the peculiarities of the functioning of the competition and festival movement of Ukraine during the war from different vector positions, thus, with the help of the comparative method, the formats for the task of events are compared, the phenomenological method is applied at the stage of revealing the essence of the phenomenon of competition festival movement of Ukraine and its transformation during the military invasion of Russia.
{"title":"Competition and festival movement in Ukraine during the Russian-Ukrainian war","authors":"Ruslana Bezuhla","doi":"10.31500/2309-8813.18.2022.269657","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269657","url":null,"abstract":"The article analyzes the peculiarities of conducting contests and festivals in Ukraine in the conditions of a full-scale invasion of Russian troops into Ukraine. Significant security risks, which are still present in many regions of the country, led to the search for new formats of events. It was found that the key tasks of artistic events were: support of the moral spirit of society, accumulation of aid for the Armed Forces, promotion of Ukrainian culture both in Ukraine and abroad. The change in the format of the event itself is due to the specified tasks: the theme of war has become an important part of the theme of the festivals, and the charitable focus of the events has acquired key importance. Territorial changes are associated both with a threatening situation in some regions and with cooperation and support from other events located in safer places.\u0000The purpose of the article is to create a comprehensive archive of materials that will allow analyzing the functioning of the competition-festival movement of Ukraine during the time of Russian military aggression, understanding the cultural strategies determined by the tasks of the military today.\u0000Methodology of work. The article uses the following general scientific approaches, principles and methods that made it possible to consider the peculiarities of the functioning of the competition and festival movement of Ukraine during the war from different vector positions, thus, with the help of the comparative method, the formats for the task of events are compared, the phenomenological method is applied at the stage of revealing the essence of the phenomenon of competition festival movement of Ukraine and its transformation during the military invasion of Russia.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44402292","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269728
Bogdan Strutynskyi
The article is devoted to the peculiarities of staging musicals in the Ukrainian musical theatre of the beginning of the 21st century. Using the example of Kyiv National Operetta Theatre, the author analyses the problems faced by the theatre while staging a musical, investigates practical ways to solve problematic issues, and considers the prospects for further presentation of musicals to the audience. The author pays attention to the motivation of the theatre and production groups during the selection of material for the stage performance: the creative ability of the team, the relevance of the subject, etc. The article examines a creative potential of the theatre, in particular a special cast of a team necessary for the realization of the musical: qualification requirements for soloists, choir, ballet and orchestra. The author draws a special attention to differences between staging a musical and an operetta, focusing on the peculiarities of working with a team who is engaged in both of these genres. The article examines the issue of copyright protection, difficulties faced by Ukrainian theatres working with foreign rights holders. One of the key aspects of the article is the analysis of the experience of cooperation with foreign directors and creation of co-productions. The author also touches the issue of a technical support of the stage as an important condition for creating a high-quality stage product in the musical genre. The conclusion of the study was resulted in generalization of outputs of the conducted analysis.
{"title":"Some aspects of stage performances of musicals at Kyiv National Operetta Theatre in 2005-2021","authors":"Bogdan Strutynskyi","doi":"10.31500/2309-8813.18.2022.269728","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269728","url":null,"abstract":"The article is devoted to the peculiarities of staging musicals in the Ukrainian musical theatre of the beginning of the 21st century. Using the example of Kyiv National Operetta Theatre, the author analyses the problems faced by the theatre while staging a musical, investigates practical ways to solve problematic issues, and considers the prospects for further presentation of musicals to the audience. The author pays attention to the motivation of the theatre and production groups during the selection of material for the stage performance: the creative ability of the team, the relevance of the subject, etc. The article examines a creative potential of the theatre, in particular a special cast of a team necessary for the realization of the musical: qualification requirements for soloists, choir, ballet and orchestra. The author draws a special attention to differences between staging a musical and an operetta, focusing on the peculiarities of working with a team who is engaged in both of these genres. The article examines the issue of copyright protection, difficulties faced by Ukrainian theatres working with foreign rights holders. One of the key aspects of the article is the analysis of the experience of cooperation with foreign directors and creation of co-productions. The author also touches the issue of a technical support of the stage as an important condition for creating a high-quality stage product in the musical genre. The conclusion of the study was resulted in generalization of outputs of the conducted analysis.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69926711","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.273814
V. Bitaiev
The study of the cultural and aesthetic component of advertising is aimed at determining the significant influence of ethno-artistic traditions of Ukraine on the stylistics of advertising graphics. The authors consider the problems of the national form and the reasons for pseudo-nationalization in design and advertising. As a result of the color-graphic and semantic analysis of numerous works of art, it was found that the visual components of advertising graphics are deeply rooted in Ukrainian folk art. At the same time, it was found that the separation of modern urban life from the experience of folk imagery gained over the centuries leads to the loss of ethnic artistic traditions. In the conclusion of the article, the author proves that advertising is subject to positive and negative effects of socio-cultural transformations, which is why the use of visual means in advertising must be conditioned by orientation on the target audience, taking into account the defined aesthetic ideals, national color and ethno-artistic traditions.
{"title":"The evolution of the advertisement graphics in Ukraine: the ethnic art path.","authors":"V. Bitaiev","doi":"10.31500/2309-8813.18.2022.273814","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.273814","url":null,"abstract":"The study of the cultural and aesthetic component of advertising is aimed at determining the significant influence of ethno-artistic traditions of Ukraine on the stylistics of advertising graphics. The authors consider the problems of the national form and the reasons for pseudo-nationalization in design and advertising. As a result of the color-graphic and semantic analysis of numerous works of art, it was found that the visual components of advertising graphics are deeply rooted in Ukrainian folk art. At the same time, it was found that the separation of modern urban life from the experience of folk imagery gained over the centuries leads to the loss of ethnic artistic traditions. In the conclusion of the article, the author proves that advertising is subject to positive and negative effects of socio-cultural transformations, which is why the use of visual means in advertising must be conditioned by orientation on the target audience, taking into account the defined aesthetic ideals, national color and ethno-artistic traditions.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44455124","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269659
Natalia Kondel-Perminova
The Russian-Ukrainian war proved that sustainability of the “architecture of the post-war world” is non-existent. The problems of humanity, which were accumulating and not solved for years, reached a top point. War in all of its hybrid forms causes destruction to Ukrainian cities and villages, traumatization and death of people, mass migration of the population, and the loss of cultural values. Overcoming the consequences of the war in Ukraine after its end will require a lot of human effort and time. A discourse aimed at rethinking pre-war Ukraine and filling architecture and design with new meanings was opened in public space. The article attempts to systematize the contents of this discourse. A complete reformation of international relations awaits the world. In the world space Ukraine becomes an active subject of the development of post-war world architecture. It is important to develop a concept and strategy for the recovery of Ukraine. The state must have a general joint vision of the future and clear stages of implementation of specific projects and plans. State strategy makes possible to solve urgent tasks related to providing housing for hundreds of thousands of people who lost their homes and overcome other consequences of the war. Universal design is gaining special relevance. The war actualizes the social cohesion and integration of people with disabilities, opens and develops their potential. Understanding disability as an aspect of human diversity should become the basis of the new social policy of the state
{"title":"Challenges war: transformations in architecture and design","authors":"Natalia Kondel-Perminova","doi":"10.31500/2309-8813.18.2022.269659","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269659","url":null,"abstract":"The Russian-Ukrainian war proved that sustainability of the “architecture of the post-war world” is non-existent. The problems of humanity, which were accumulating and not solved for years, reached a top point. War in all of its hybrid forms causes destruction to Ukrainian cities and villages, traumatization and death of people, mass migration of the population, and the loss of cultural values. Overcoming the consequences of the war in Ukraine after its end will require a lot of human effort and time. A discourse aimed at rethinking pre-war Ukraine and filling architecture and design with new meanings was opened in public space. The article attempts to systematize the contents of this discourse.\u0000A complete reformation of international relations awaits the world. In the world space Ukraine becomes an active subject of the development of post-war world architecture. It is important to develop a concept and strategy for the recovery of Ukraine. The state must have a general joint vision of the future and clear stages of implementation of specific projects and plans. State strategy makes possible to solve urgent tasks related to providing housing for hundreds of thousands of people who lost their homes and overcome other consequences of the war. Universal design is gaining special relevance. The war actualizes the social cohesion and integration of people with disabilities, opens and develops their potential. Understanding disability as an aspect of human diversity should become the basis of the new social policy of the state","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43870543","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 : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269724
O. Klymenko
The war in Ukraine, which is unfolding against the background of unprecedented and threatening climate changes, a colossal economic crisis and the escalation of tension between the “big players”, has caused new systemic challenges for our country and the world. We must look for extraordinary answers and offer unusual solutions, because traditional and outdated will not be able to solve anything. How to avoid a lifelong confrontation with Russia once and for all? What is the most important civilizational offer of Ukraine to the world? What can be a guarantee of a happy future for our country? Reflecting on these important questions, we offer an unexpected solution — a decisive turn and social movement towards noospheric-cosmic consciousness. This kind of thinking has long been inherent in the natural self-awareness of the inhabitants of Ukraine, and even the very theory of the noosphere was developed by the Ukrainian scientist Volodymyr Vernadskyi. How are these ideas intuitively reflected in Ukrainian art since the beginning of the 20th century? It is proposed to outline the main principles and approaches and some conceptual essays about approx.
{"title":"Ukraine’s civilizational offer to the world. Ideas of the noosphere and cosmic worldview in Ukrainian art of the XX–XXI centuries","authors":"O. Klymenko","doi":"10.31500/2309-8813.18.2022.269724","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269724","url":null,"abstract":"The war in Ukraine, which is unfolding against the background of unprecedented and threatening climate changes, a colossal economic crisis and the escalation of tension between the “big players”, has caused new systemic challenges for our country and the world. We must look for extraordinary answers and offer unusual solutions, because traditional and outdated will not be able to solve anything. How to avoid a lifelong confrontation with Russia once and for all? What is the most important civilizational offer of Ukraine to the world? What can be a guarantee of a happy future for our country? Reflecting on these important questions, we offer an unexpected solution — a decisive turn and social movement towards noospheric-cosmic consciousness. This kind of thinking has long been inherent in the natural self-awareness of the inhabitants of Ukraine, and even the very theory of the noosphere was developed by the Ukrainian scientist Volodymyr Vernadskyi. How are these ideas intuitively reflected in Ukrainian art since the beginning of the 20th century? It is proposed to outline the main principles and approaches and some conceptual essays about approx.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43799540","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}
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