Pub Date : 2022-11-29DOI: 10.31500/2309-8813.18.2022.269725
Maryna Poliakova
The article takes the first step towards a systematic study of the network of art workshops in the city of Kyiv as it developed during the 1960s and 1980s. The artist’s workshop is presented by us as one of the main loci of professional artistic ubiquity, a room where the artist spends a significant part of his life, working and communicating with colleagues. The activities of the Kyiv branch of the Union of Artists of the Ukrainian SSR and the Art Fund of the Ukrainian SSR subordinated to the Union in the field of creating and providing artists with skills are analyzed as one of the directions of the implementation of the Soviet cultural policy: maintaining loyal attitudes in the artistic environment through the material support of artists, ensuring their daily professional needs. The phenomenon of Kyiv research workshops in the interdisciplinary field (using the methods of social history, cultural history, etc.). This made it possible to see the system of workshops as a structure: to typologize, that is, to distinguish different types of premises (residential buildings with workshops, specialized “combinations”, individual premises), to build a chronology of creation and visualize the Kyiv geography of the network of creative workshops.
{"title":"Artists’ workshops on the cultural map of Kyiv in the 1960s–1980s","authors":"Maryna Poliakova","doi":"10.31500/2309-8813.18.2022.269725","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269725","url":null,"abstract":"The article takes the first step towards a systematic study of the network of art workshops in the city of Kyiv as it developed during the 1960s and 1980s. The artist’s workshop is presented by us as one of the main loci of professional artistic ubiquity, a room where the artist spends a significant part of his life, working and communicating with colleagues. The activities of the Kyiv branch of the Union of Artists of the Ukrainian SSR and the Art Fund of the Ukrainian SSR subordinated to the Union in the field of creating and providing artists with skills are analyzed as one of the directions of the implementation of the Soviet cultural policy: maintaining loyal attitudes in the artistic environment through the material support of artists, ensuring their daily professional needs. The phenomenon of Kyiv research workshops in the interdisciplinary field (using the methods of social history, cultural history, etc.). This made it possible to see the system of workshops as a structure: to typologize, that is, to distinguish different types of premises (residential buildings with workshops, specialized “combinations”, individual premises), to build a chronology of creation and visualize the Kyiv geography of the network of creative workshops.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49546527","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: 10.31500/2309-8813.18.2022.269720
Asmati Chibalashvili, Polina Kharchenko
The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at changing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, combines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is implemented by involving the viewer in the process of their creation. It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affiliation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same capacity is gradually emerging.
{"title":"Gender theme in new media art","authors":"Asmati Chibalashvili, Polina Kharchenko","doi":"10.31500/2309-8813.18.2022.269720","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269720","url":null,"abstract":"The article presents artistic projects in which the issue of gender is actualized. The above was carried out from the position of post-humanist ideas through the study of the impact of the development of technologies on modern socio-cultural processes. Thus, the projects created in different genres were analyzed, including post-cinema (“Night Walk for Edinburgh”, “A Total Jizzfest”) aimed at changing gender perceptions in society, Ellen Pearlman’s opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera” (AIBO), in which, thanks to the involvement of artificial intelligence as an actor, gender opposition is reinforced. The Female Laptop Orchestra (FLO) project is dedicated to the support of female creativity, which, thanks to the involvement of information and communication tools, combines music creation with research in its activity. An important aspect of the considered projects is defined as interactivity, which is implemented by involving the viewer in the process of their creation.\u0000It was found that, on the one hand, the digital virtual space made it possible to reduce the importance of social roles or gender affiliation, thereby leveling the stereotype of the opposition between the author’s masculinity and femininity. On the other hand, with the development of machine learning technologies, a new opposition between the human author and the artificial intelligence in the same capacity is gradually emerging.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46653821","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: 10.31500/2309-8813.18.2022.269727
Galyna Sklyarenko
The article is devoted to the analysis of one of the most paradoxical phenomena of artistic culture of the late Soviet era - monumental and decorative art, which, despite its programmatic socio-political involvement, became part of “Soviet modernism”, combining social utopia with a variety of formal, plastic, stylistic, aesthetic directions, which reflected the search for a new national and individual author’s artistic language and imagery. Significant, that exactly murals and architecture put beginning to the processes of the aesthetic updating, that became the signs of social and political thaw in the USSR. Keeping the main tasks “ of leninist plan of monumental propaganda”, monumental -decorative art in Ukraine grew into a certain “aesthetic niche”, where found a display wide address to reasons of folk art and different aspirations of modernism, and at the same time and development of new withcomposition charts of late Soviet iconography. The evolution of wall painting – from mainly planar and decorative solutions of the 1960s to complex figurative and spatial constructions of the 1970s and 1980s, the expansion of wall painting techniques ( mosaics, frescoes, stained glass windows, sgraffito, mosaic reliefs, encaustics, various types of painting, etc.) reflected the demonstration processes in Soviet art, where through wall painting new images, languages and aesthetics entered the public space, which significantly expanded its official canonical dimensions.
{"title":"Ukrainian wall painting of the 1960s-1980s: the evolution of the artistic language","authors":"Galyna Sklyarenko","doi":"10.31500/2309-8813.18.2022.269727","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269727","url":null,"abstract":"The article is devoted to the analysis of one of the most paradoxical phenomena of artistic culture of the late Soviet era - monumental and decorative art, which, despite its programmatic socio-political involvement, became part of “Soviet modernism”, combining social utopia with a variety of formal, plastic, stylistic, aesthetic directions, which reflected the search for a new national and individual author’s artistic language and imagery. Significant, that exactly murals and architecture put beginning to the processes of the aesthetic updating, that became the signs of social and political thaw in the USSR. Keeping the main tasks “ of leninist plan of monumental propaganda”, monumental -decorative art in Ukraine grew into a certain “aesthetic niche”, where found a display wide address to reasons of folk art and different aspirations of modernism, and at the same time and development of new withcomposition charts of late Soviet iconography. The evolution of wall painting – from mainly planar and decorative solutions of the 1960s to complex figurative and spatial constructions of the 1970s and 1980s, the expansion of wall painting techniques ( mosaics, frescoes, stained glass windows, sgraffito, mosaic reliefs, encaustics, various types of painting, etc.) reflected the demonstration processes in Soviet art, where through wall painting new images, languages and aesthetics entered the public space, which significantly expanded its official canonical dimensions.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69926644","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: 10.31500/2309-8813.18.2022.269743
Zhang Han
The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle
{"title":"Unique features of the performing style of Ivan Karabyts 24 preludes for piano","authors":"Zhang Han","doi":"10.31500/2309-8813.18.2022.269743","DOIUrl":"https://doi.org/10.31500/2309-8813.18.2022.269743","url":null,"abstract":"The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45149605","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248430
Igor Savchuk, Tеtiana Gomon
This paper examines the evolution of the signature traits of Borys Liatoshynsky’s instrumental chamber music during the 1910s and 1920s in the context of the overall evolution of the composer’s expressive means. Also presented is the complex analysis of Liatoshynsky’s creative personality in his early (the 1910s) and modernist (1920s) periods in order to outline the impact of the cultural and historical environment the artist lived in during the late 1910s, as well as the influence of the troubled sociocultural situation of the time on his imagery. It was found that in the 1910s Liatoshynsky turned to modifying expressive means of late Romanticism; however, during the 1920s the palette of his instrumental chamber music shifted to symphonic experiments. For Liatoshynsky, instrumental chamber music becomes a testing ground for his creed as a symphonic composer with the respective imagery and existential drama behind his design
{"title":"Borys Liatoshynsky’s 1910s–1920s Instrumental Chamber Music: Evolution from Salon Style to Symphonic Drama","authors":"Igor Savchuk, Tеtiana Gomon","doi":"10.31500/2309-8813.17.2021.248430","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248430","url":null,"abstract":"This paper examines the evolution of the signature traits of Borys Liatoshynsky’s instrumental chamber music during the 1910s and 1920s in the context of the overall evolution of the composer’s expressive means. Also presented is the complex analysis of Liatoshynsky’s creative personality in his early (the 1910s) and modernist (1920s) periods in order to outline the impact of the cultural and historical environment the artist lived in during the late 1910s, as well as the influence of the troubled sociocultural situation of the time on his imagery. It was found that in the 1910s Liatoshynsky turned to modifying expressive means of late Romanticism; however, during the 1920s the palette of his instrumental chamber music shifted to symphonic experiments. For Liatoshynsky, instrumental chamber music becomes a testing ground for his creed as a symphonic composer with the respective imagery and existential drama behind his design","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45232560","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248436
Olena Dmytriyeva
The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.
{"title":"Transformation of Borys Lyatoshynsky›s school ideas in the creative search of Leonid Grabovsky and Valentyn Silvestrov","authors":"Olena Dmytriyeva","doi":"10.31500/2309-8813.17.2021.248436","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248436","url":null,"abstract":"The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44241882","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248466
Oleksandr Sushynskyi
The article explores the topic of counterfactual artistic practices of the XX — beginning of XXI centuries. One of its main goals is to elaborate the first counterfactual classification by functions and types based on Ukrainian and international art projects. There are full characteristics of each of the functions and description of the most relevant and actual projects concerning the topic. The author introduces the very new term «fakelogy» which describes a fictitious science that researches counterfactual practices, its methods and strategies in the contemporary art domain.
{"title":"Feicology: functions and types of counterfactual artistic practices","authors":"Oleksandr Sushynskyi","doi":"10.31500/2309-8813.17.2021.248466","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248466","url":null,"abstract":"The article explores the topic of counterfactual artistic practices of the XX — beginning of XXI centuries. One of its main goals is to elaborate the first counterfactual classification by functions and types based on Ukrainian and international art projects. There are full characteristics of each of the functions and description of the most relevant and actual projects concerning the topic. The author introduces the very new term «fakelogy» which describes a fictitious science that researches counterfactual practices, its methods and strategies in the contemporary art domain.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48190643","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248469
Polina Kharchenko
The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.
{"title":"Music in cinema and problems of synthesis of arts","authors":"Polina Kharchenko","doi":"10.31500/2309-8813.17.2021.248469","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248469","url":null,"abstract":"The article raises the issues of realization of the problems of synthesis of arts, in particular in its theoretical and practical aspects, which has been implemented in cinema from the initial stages of its development to the present. This highlights the stages of theory and practice that have become significant milestones in the formation of cinema as a synthetic art form. Throughout the period of the latter there were discussions about its nature, in particular the peculiarities of its spatio-temporal and semantic organization, the specifics and features of the ratio of certain structural components in creating the film’s drama, the basics of interaction and the ratio of its basic means of expression visual range. Due to the development of modern technologies of composition, as well as the evolution of means of recording music and the practice of further distribution of film music as an independent work of art, the problem of synthesis in film has become acute at a new, insufficiently studied level. As a result of the study, important milestones in the history of the evolution of cinema in terms of synthesis of its main structural components, including screen image and music. Based on the analysis of the specifics of the synthetic interaction of the latter in the construction of dramaturgy of films, identified and characterized their implementation in various models of the relationship between music and visual series in cinema. The nature of cinema determines its specificity as a synthetic art form, but the characteristics and foundations of the interaction of its main means of expression are discursive. The ratio of traditional, ancient artistic languages, which have independent, developed semantics and principles of structural organization, require filmmakers to solve the problem of their synthesis in the construction of artistic concept, the general drama of films.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48288143","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248447
Mariia Ospishcheva-Pavlyshyn
On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works
{"title":"Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010","authors":"Mariia Ospishcheva-Pavlyshyn","doi":"10.31500/2309-8813.17.2021.248447","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248447","url":null,"abstract":"On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art.\u0000This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail.\u0000In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced.\u0000The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned.\u0000The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44806640","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 : 2021-11-30DOI: 10.31500/2309-8813.17.2021.248425
Asmati Chibalashvili
The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.
{"title":"Artificial intelligence in artistic practices","authors":"Asmati Chibalashvili","doi":"10.31500/2309-8813.17.2021.248425","DOIUrl":"https://doi.org/10.31500/2309-8813.17.2021.248425","url":null,"abstract":"The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-11-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48871527","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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