Art Center Research Articles

Can ferritin be a surrogate marker for CD4 cells in human immunodeficiency virus patients? A cross-sectional study of association of serum ferritin levels with immunological staging of human immunodeficiency virus patients.

The human immunodeficiency virus (HIV)/AIDS in India came into public view in 1986 with the detection of the first case of HIV in Chennai, Tamil Nadu, and the first AIDS case in Mumbai, Maharashtra in 1987. In acute phase response, iron distribution occurs in the liver and mononuclear phagocytic system. A high prevalence of elevated serum ferritin levels is reported in HIV infection and serum ferritin levels increase with the clinical worsening of infection and with decreasing CD4 lymphocyte counts. This study is designed to find the role of acute phase reactant serum ferritin in the progression of the disease of HIV which is complicated by opportunistic infections, by finding the correlation of serum ferritin with immunological stages of HIV. This cross-sectional study was conducted on 75 patients admitted to various wards of the Department of Medicine or attending medicine outdoor or ART Centre, Maharana Bhupal Government Hospital, RNT Medical College Udaipur. Serum ferritin, total iron binding capacity, and total serum iron were analyzed in Cobas® analyzer. CD4 cells are measured using the flow cytometry technique. The results were tabulated and subjected to statistical analysis. There was a negative correlation among serum ferritin and CD4 cells with r = -0.195 which was statistically significant (P < 0.05). As the CD4 cell count decreased incidence of serum ferritin increased. Elevation of serum ferritin levels is associated with a low count of the CD4+ in HIV-diagnosed patients. In a patient diagnosed with HIV, elevated serum ferritin indicates underlying inflammatory pathology. Serum ferritin can be used as a guide to further evaluation of underlying disease in HIV patients.

О СПЕЦИФИКЕ ПОНЯТИЯ «КИТАЙСКАЯ ФОРТЕПИАННАЯ ШКОЛА»

The article is devoted to one of the most important phenomena of Chinese musical culture — the formation of the Chinese performing and pedagogical piano school in the projection of cultural dialogue. The study of this phenomenon requires a historical and theoretical underintercultural dialogue. The purpose of the study is to provide a musicological understanding of the essence of the concept of “Chinese piano school”. The object of the research is Chinese piano art. The subject of the research is the process of formation of the Chinese piano school in the context of cultural dialogue. The concept of the “piano performing school” in Chinese musical culture and its specificity, which was the result of cultural and artistic exchanges between Chinese and Western pianists, the study of the achievements of Western European piano schools and active interaction with them, will be examined for the first time in musicology. The author identifies and systematises three components of the concept of “Chinese piano school” (as a direction in the national musical art; as a creative team; as a methodological system), and also outlines the most significant achievements in the pedagogical and methodological training of professional performers. The results of the study can be used in teaching courses on the history of piano performance and methods of teaching piano playing.

Spacing: Following negotiations in the process of exhibition dismantling

This paper is concerned with an Actor-Network Theory approach to museum space. It builds upon qualitative research at the Sainsbury Centre for Visual Arts, a museum and educational building in Norwich, England. Following the people who work with the building in the process of dismantling an exhibition, I examine the negotiations that emerge when a problem occurs with the handling of a specific artwork. Drawing on the concept of spacing by Bruno Latour, this paper highlights the multiplicity and complexity inherent in museum practices. I argue that space is not contained inside the building but is done with the building, exhibition objects, handling instructions, surfaces, and people. Analyzing this process of spacing, then, the work towardsand negotiation of stability and flux, of homogeneity and heterogeneity inherent to museum spaces become visible which allows for a rich and nuanced understanding of the relationship between people and physical stuff.

Eudemonia of People Living with HIV at an Anti-Retroviral Therapy Center, Ron, Gadag District - A Mixed Method Feasibility Study

Background In the realm of health and wellbeing the cursed part is the illness. Times elapsed health problems and challenges evolved constantly. In 1980s the first case of HIV Human Immunodeficiency Virus was reported and according to World Health Organization WHO 36.9 million people worldwide are living with HIVAIDS Acquired Immunodeficiency Syndrome.Aim This study aimed to explore the meaning of lived experiences of people living with HIV PLHIV and evaluate the effectiveness of health interventions on the state of health of PLHIV at an Anti-retroviral therapy ART center Ron Gadag District.Methods A sequential exploratory mixed-method study was conducted from August 2022 to September 2022. The qualitative strand with five samples explored lived experiences of PLHIV to develop health related counselling programme and quantitative strand with 14 samples tested the health-related counselling programme developed based on the data extracted from qualitative strand leading to first level integration in addition to administration of oral zinc 20 mgday for one month. Qualitative data analysis was done using QDA Miner lite version 3.0 and quantitative data analysis was done using IBM SPSS version 29.0 followed by mixing of data by integrated analysis.Results After qualitative analysis six themes and twenty-one sub-themes were derived in development of phenomenology. After quantitative analysis H1 amp H2 were accepted as P value obtained was 0.001 for df - 01 at 5 level of significance. The integrated analysis showed that findings from both the strands complemented supported and synergized the state of eudemonia among PLHIV.Conclusion The study concluded that administration of oral zinc supplementation and regular health related counselling sessions are effective strategies in maintaining eudemonia of people living with HIV amp AIDS.

Prevalence of Hepatitis B Co-infection in HIV Patients and their Demographic Parameters in Patients, attending Tertiary Care ART Centre, Jhalawar, Rajasthan, India: A Retrospective Study

Prevalence of Hepatitis B Co-infection in HIV Patients and their Demographic Parameters in Patients, attending Tertiary Care ART Centre, Jhalawar, Rajasthan, India: A Retrospective Study

Grigor Khanjyan’s Triptych as a Visualization of the Commemoration in the Context of the Armenian Ethnogenetic Myth

The article is devoted to the visualization of three key events in the history of Armenia in the work of the artist Grigor Khanjyan: the invention of the Armenian alphabet by Mesrop Mashtots, the Vardanid War for independence. To achieve ideological and aesthetic goals, the artist turned to the monumental genre. The final result was a triptych, now stored in the heart of Yerevan, in the architectural and monumental Cascade complex, in the Gerard Gafeschyan Art Center, in the hall named after the artist. The frescoes are united by cumulation and intentional atemporality of the characters. Another characteristic feature of the triptych is that Khanjyan turned to academic classicism to implement the idea. As an artistic technique, the master uses achrony, shifting the time frame for different characters, but at the same time, remaining faithful to the plot and the entourage of the depicted events. The central part of the triptych resembles a temporary dromos, separating and simultaneously connecting the first and third khorans, epochal events that changed the paradigm of the Armenian nation’s existence. Through the time portal, the Armenian ethnic group flows from the early Middle Ages to our days. A cross-cutting idea is the ideal of the social structure of the Armenian nation, which has gained sovereignty, sought by Khanjyan. The artist models the Golden Age according to the type of social structure of the early Middle Ages, extrapolating the medieval paradigm to the present and tomorrow. The ukhronia of the Reborn Armenia created by the artist is a projection of early medieval Armenia. Among the researchers who conducted an art criticism analysis of this work of Khanjyan, it is perhaps worth highlighting the names of such researchers as N. Stepanyan, N. Eyramjians, V. Gamagelyan, etc., whose works we refer to in our study. This article is intended to partially fill this obvious gap. The scientific novelty of the study lies in its interdisciplinary approach, due to the fact that one of the co–authors is a historian and the other is an art critic. This allowed the authors to conduct a diverse analysis using historical, cultural, semiotic, anthropological, ethnographic and, of course, art criticism approaches.

Effect of health education on cancers screening and its outcome among women living with HIV (WLHIV) attending ART centre: A quasi-experimental study

Effect of health education on cancers screening and its outcome among women living with HIV (WLHIV) attending ART centre: A quasi-experimental study

Musical Sociability, Atlantic Slavery, and the Portraiture of Carmontelle

This article addresses the transatlantic financing of pre-revolutionary French salons and the amateur music-making that featured within them. It does so by reconstructing the context of a paradigmatic image of enlightened leisure: a portrait by Louis Carrogis (known as Carmontelle) inscribed “Mlle Desgots, from Saint-Domingue, with her Black servant Laurent, 1766.” The likeness is representative of Carmontelle’s style in subject and setting. It features a fashionable noblewoman—the French-Caribbean heiress Charlotte Louise-Desgots—who plays a gilded harpsichord. What is unusual about the scene is the identity of Desgots’s interlocutor; the aristocrat poses with a teenaged valet de chambre, Laurent, whom her family had enslaved. The soundscape evoked in the drawing—the domestic repertoire of the midcentury galant—is often described as a sonorous analogue to conventions of salon politesse. And yet, Laurent’s forcible participation in the artistic exchange destabilizes this “sociable” analytic framework. Tracing Laurent’s experiences in the decades before and after the portrait was made underscores how the dynamics of Caribbean slavery were inflected in the most prestigious of Parisian cultural spaces, and through the most anodyne and “convivial” of eighteenth-century sound worlds. Like Desgots, the musical engagement Laurent demonstrated was the result of an education attained in the metropole. Unlike Desgots, this training was not gifted for the pursuit of leisure but imposed in the formation of labor, as adornment to the artistic habits of his repatriated colonial enslavers.

Perpetuation of the memory of an outstanding countryman as a social practice: the name of M.A. Vrubel in the urban space of Omsk in 1923

The subject of the study is the social practice of the Omsk intelligentsia in the 1910s-1923 in order to perpetuate the memory of the artist M.A. Vrubel (1856-1910). The problem of preserving the historical memory of famous personalities of the past in the public consciousness is very relevant in modern historical science, since it largely determines the image and historical and cultural potential of the region. At the beginning of the XX century, the desire of the intelligentsia of large cities for the right to transform them into cultural and artistic centers of the region was recorded on the territory of Siberia. In this situation, the continuity of provincial and metropolitan culture, primarily carried out through famous countrymen, played an important role. In the 1910s, the appeal to the personality of M.A. Vrubel was of great importance in determining the identity of the Omsk artistic intelligentsia, ensuring the high status of Omsk as a cultural center of Siberia, as well as the heir and admirer of the creative traditions of the famous countryman. The subject field of the study correlates with the "history of memory", in which the treatment and attitude to the name of M.A. Vrubel in Omsk directly depended on historical time, the emergence of new needs, practices and meanings. Methodologically, the study is based on a socio-cultural approach that allows us to consider the role of M.A. Vrubel's personality in improving the image of Omsk in general, as well as the cultural level of its residents, in particular. Despite the fact that the personality of the master is important in determining the historical and cultural potential of Omsk, the information related to the initial stage of perpetuating his memory in the city is fragmentary. Based on archival documents, periodical materials and research on the topic, the authors characterized the process of founding the Omsk Art and Industrial College, as well as naming it after M.A. Vrubel in 1923, which laid the foundation for further involvement of the famous artist's name in the historical and cultural heritage of the region. It is concluded that despite the fact that M.A. Vrubel left Omsk in early childhood, subsequently the significant contribution of the master to the development of Russian art made his personality significant for the formation of the historical and cultural landscape of his native city.

The Research on Jades: Artistic Exchanges Between East Asia and Central Asia Along the Silk Road During the Western Liao Dynasty

The Silk Road, a historical network of trade routes connecting East Asia to Central Asia, the Middle East, and Europe, facilitated profound cultural exchanges, including the transfer of artistic concepts and creations. The Western Liao dynasty (Qara Khitai), reigning from 1124 to 1218 over territories including present-day Xinjiang, marked an era of significant political and cultural importance. During this period, a unique artistic style emerged, seamlessly blending Chinese and Central Asian influences. This paper investigates the artistic interactions between China and Central Asia during the Silk Road and the Western Liao dynasty era. We explore to what extent the Silk Road and the Western Liao dynasty facilitated these interactions, pinpointing contributing factors and examining their impact on art evolution. The analysis includes three cases of jade ware. In conclusion, this study demonstrates that the artistic interactions between China and Central Asia during the Western Liao dynasty had a profound impact on both regions, leaving an enduring legacy. It underscores the interconnectedness of civilizations along the Silk Road and highlights the universal language of art, transcending boundaries to foster mutual understanding and cooperation. By exploring this shared history through art, we deepen our appreciation for the power of artistic expression to bridge gaps and connect diverse cultures across time and space.

Job Satisfaction of Teachers Working in Science and Art Centers

This research aims to reveal the opinions of teachers working in Science and Art Centers (BİLSEM) about their job satisfaction. In the study, case study was applied as one of the qualitative research methods. The research was conducted with 15 teachers, 9 male and 6 female, working in Antalya Science and Art Centers in the spring term of the 2020-2021 academic year. The data for the study were collected using open-ended questions created by the researcher. The data were analyzed by face-to-face and descriptive analysis technique by the researcher. According to the findings obtained from the research that a significant number of the teachers stated that the physical facilities and technological infrastructure in the institutions were insufficient and the interest and desire of the students towards the lesson were low. Teachers also stated that they have experienced problems due to the increase in the number of students in their institutions in recent years, so they had difficulty in having enough time to each student and that some courses were not given the necessary importance by the school administrators. Based on the relevant findings of the study, it was concluded that the teachers' expectations of the profession could not be fulfilled by the institution, students and the program due to these reasons, and this situation negatively affected their job satisfaction.

“We All Share the Same Language” Elias Sime: Eregata, Arnolfini, Bristol, October 21, 2023 – February 18, 2024, Exhibition

A review of the exhibition Elias Sime: Eregata at the Arnolfini gallery, Bristol. The Exhibition is the first solo exhibition in Europe of Sime’s work. The review explores the Zoma project, a network of arts centres in Addis Ababa, Ethiopa, created in collaboration between Sime and the curator and cultural anthropologist, Meskerem Assegued. The Arnolfini exhibition is discussed in relation to its central theme of networks, both local and global; networks that consist of stories and knowledge, commerce and waste.

Examination of the number sense performance of gifted students in terms of various variables

In this study, it is aimed to examine performance of number sense of gifted students in terms of gender, grade levels,number sense self-efficacy and number sense components. In line with the studies in the literature, due to the insufficent research on the number sense on students who diagnosed with special talents in our country, it is felt that in this research we need to study with these student and examine the level of student of this category in the scope of relevant study in terms of various variables. A quantitative descriptive research model was used to determine carefully and completely the level of students’ number sense and their existing situations that is related to it. The study group consists of 6th and 7th-grade students attending Science and Art Centers located in 12 provinces in the Eastern Anatolia Region during the 2022-2023 academic year .286 students attended in this research that included 184 students in the 6th grade and 102 students in the 7th grade. This study included the Number Sense Scale and the Number Sense Self-Efficacy Scale as a data collection tools. It is indicated that in this research students diagnosed with special abilities didn't show high level of number sense performance; instead, they prefer rule-based solutions.It is revealed that , the component “flexibility in calculation” is the most succeded one among the components of number sense.When the students’ grade level increases, it has been observed that , the number sense performance of students improves.When number sense performance was examined based on gender, it was seen that male students used number sense more than female students.When the relationship between the number sense test scores and number sense self-efficacy scores of gifted students was examined, an expressive positive correlation was found between the scores.

EVALUASI PEMBELAJARAN CIPP PADA PEMBELAJARAN STEAM DI PAUD

The CIPP evaluation model is one of the most widely used evaluation methods for conducting assessments, especially in the field of education. This evaluation model is divided into 4 components, namely context evaluation, input, process and results. A formal educational institution needs to continue to carry out a form of evaluation as a form of self-evaluation in order to make the institution better in the future, especially the things that are assessed. The research in this article is about the implementation of the evaluation of the STEAM approach in art centers in PAUD units. The method in this study is qualitative with data collection methods through observation, interviews and documentation. The data analysis technique uses the Huberman and Miles technique which consists of three streams of activities that occur simultaneously, namely data reduction, data presentation, drawing conclusions and verification. The conclusion obtained from the context evaluation is that the STEAM approach to art centers has been carried out well in TK IB 68. Evaluation of inputs to art centers through the STEAM approach is known to have been based on the Daily Learning Implementation Plan (RPPH). The evaluation process is known to be going well by school institutions, this can be seen from the assessment activities carried out at art centers based on the STEAM approach. And the evaluation of the results, namely the evaluation process and the procurement of tools and materials that have been carried out by the teacher can be categorized as going well and adapted to the needs and interests of the child.

Determining the Professional Development Needs of Primary School Teachers Working in Science and Art Centers

Science and Art Centers (SACs) are educational institutions affiliated with the Ministry of National Education that focus on the education of gifted individuals. In SACs, primary school teachers are responsible for implementing specialized and enriched curricula designed for gifted students in 2nd, 3rd, and 4th grades. The professional development needs of primary school teachers at SACs differ from those in regular primary schools.. However, it is essential for teachers to continue their professional development throughout their tenure and actively participate in in-service training activities. Recognizing the significance of continuous professional development in the teaching profession, this study aims to identify the areas where primary school teachers at SACs require professional development and provide recommendations for incorporating these needs into future professional development activities. The research data for this study were collected using the Classical Delphi Technique. Academicians working in the field of Classroom Education or Special abilities, who conduct research on gifted individuals, and primary school teachers who work with gifted students participated in this data collection process. The data obtained were analyzed through descriptive analysis and content analysis. The study revealed that primary school teachers working at SACs require professional development training in various content areas, including recognizing gifted students, understanding relevant legislation, implementing enriched and differentiated education for gifted individuals, exploring education-teaching models, and fostering family involvement in the educational process. Based on these identified needs, it is strongly recommended that policy makers develop and implement professional development programs specifically tailored to primary school teachers employed at SACs.

Ways of developing the repertoire for folk instruments in the works of the composers of Slobozhanshchyna

Statement of the problem. The formation of the repertoire of folk instruments is a comprehensive and long-term process that began in Ukraine only in the 20th century. A significant part of the musical repertoire for folk instruments was written by the composers of Slobozhanshchyna, because namely this region became the centre of the folk instrumental art of Ukraine at the beginning of the 20th century. Therefore, the necessary arises to recreate the holistic picture of developing the music for folk instruments in the works of the composers of Slobozhanshchyna that has not yet attracted the attention of researches, which determines the relevance of our work. Objectives, methods, and novelty of the research. The purpose of the article is to present as much as possible the entire range of music for folk instruments by the composers of Slobozhanshchyna, to reveal the dominant genre-style vectors and timbre priorities in the works of H. Khotkevych, V. Podgorny, B. Mikhieiev, V. Ivanov, M. Stetsiun, I. Haidenko and A. Haidenko. The genre-style method helps establish the hierarchy of genres and styles in music for folk instruments; historical one – to determine the stages of formation and distribution of the folk instrumental repertoire; the method of source studies – to analyze the existing sources on the works of the composers of Slobozhanshchyna; structural and functional method – to reveal the compositional features of the works. Today there are a number of works devoted to bayan /accordion, domra, balalaika, bandura, guitar and cimbalom art. A significant number of works for folk instruments by the composers of Slobozhanshchyna have already been considered, but in isolation, outside the general scheme of the development of folk instrumental music in Ukraine. The novelty of our topic lies in the fact that for the first time a panorama of music for folk instruments is presented and the ways of its development in the repertoire of the artists of Slobozhanshchyna are considered. Research results and conclusion. The panorama of music by the composers of Slobozhanshchyna for folk instruments presented in the article gives grounds for the conclusion that, starting from the 1930s, by the way of the gradual extending the genre and style guidelines, the complication of the form of works, from arrangements of folk songs to large scale concert compositions, due to discovering the original timbre solutions and bright playing techniques, deepening the artistic and conceptual content and expanding the folklore “geography” of the compositions (besides Ukrainian, appeal to Spanish, Romanian, etc. folklore), the artists from Slobozhanshchyna “guide” folk instruments to the concert stage, giving them the opportunity to establish themselves on the same level as the instruments of the academic tradition. According to chronology, since the 1930s, the original bandura works (H. Khotkevych) are first, and only since the 1960s the composers of Slobozhanshchyna write for the button accordion (V. Podgorny, A. Haidenko, M. Stetsiun), for the balalaika (P. Haidamaka, V. Ivanov, B. Mikhieiev, A. Haidenko, M. Stetsiun), and the domra (V. Podgorny, M. Stetsiun, A. Haidenko, B. Mikhieiev, V. Ivanov). Since the beginning of the 1990s, the bandura (A. Haidenko, I. Haidenko), the guitar (M. Stetsiun) and the cimbalom (A. Haidenko, I. Haidenko, M. Stetsiun) repertoire has been replenished with original compositions. The high artistic and professional status of the works of the composers of Slobozhanshchyna confirms not only their popularity among performers and listeners, but also their inclusion as mandatory in the programs of international performance competitions.

Trst, Ljubljana, Zagreb in Beograd med obrobjem in središčem: od zgodovinskih do neo-, post- in retroavantgard

The essay outlines two attempts to revolutionise the relationship between the periphery and the centre in Central and Eastern Europe. The first belongs to the historical avant-gardes of the 1920s and 1930s. The second one belongs to the retro-avant-gardes at the turn of the century, which re-enacted some of the basic ideas of Constructivist and Futurist utopian questions. The retro-generations announced that they were the heirs of the artistic generation of the Constructivists and Zenitists, who wanted to promote Ljubljana, Zagreb, Belgrade and Trieste as centres of new art to establish a new bridge between East and West.

Automatic item generation for non-verbal reasoning items

The purpose of this study is to generate non-verbal items for a visual reasoning test using templated-based automatic item generation (AIG). The fundamental research method involved following the three stages of template-based AIG. An item from the 2016 4th-grade entrance exam of the Science and Art Center (known as BİLSEM) was chosen as the parent item. A cognitive model and an item model were developed for non-verbal reasoning. Then, the items were generated using computer algorithms. For the first item model, 112 items were generated, and for the second item model, 1728 items were produced. The items were evaluated based on subject matter experts (SMEs). The SMEs indicated that the items met the criteria of one right answer, single content and behavior, not trivial content, and homogeneous choices. Additionally, SMEs' opinions determined that the items have varying item difficulty. The results obtained demonstrate the feasibility of AIG for creating an extensive item repository consisting of non-verbal visual reasoning items.

Öğrenme Ortamlarının Mevcut İmkanlarından Faydalanılarak Akustik Ortamların Oluşturulması ve Karşılaştırılması

In this study, the situation that noise in schools has a significant effect on students' adaptation and understanding of the lesson was discussed. In classroom environments where students gain academic, social and emotional skills, 60.00-75.00% of learning activities require verbal communication with the teacher and other students (American National Standards Institute [ANSI], 2002; The Institute for Enhanced Classroom Hearing [IECH], 2018). In this context, the process was carried out in order to consider the acoustic quality of the educational environment as one of the important elements that determine the quality of the learning and teaching process. In this research, the effect of the acoustic arrangement of the classrooms as a learning environment on the listening and perception activities of the students was examined. For this reason, the main purpose of this research, the acoustic arrangements, without any professional support, alternatively, with the help of the students' bags or with acoustic diffusers that they can make themselves (for example, plastic bottles) are based on the situation of making the learning environment more efficient acoustically. The research design is the experimental design. The experimental process was carried out in the classroom environment of Maltepe Kadir Has Science and Art Center. The classroom and students in which the audio recordings were made were randomly assigned. Measurements were made by lecturing in an environment where acoustic study was not done and where it was done. The listening and perception activities of the students in the classroom in line with the acoustic studies were examined with the help of a semi-structured interview form. In this direction, it has been determined that an acoustic environment can be created with simple materials and that the acoustic environment affects student listening and perception activity. Keywords: Acoustics, Listening, Perception, Learning Environments

The Leningrad Rock Club in St Petersburg: From Memory to Cultural Heritage

Over the last 30 years, the popular musical past has become a subject of interest for researchers in many social sciences and the humanities, from cultural geography and cultural sociology to urban studies and public history. Popular music is regarded not only as a significant part of national and regional cultural history, but also as an important element of the urban cultural heritage. The revision of both the content and the very concept of cultural heritage is associated with large-scale changes in the humanities and social sciences that occurred in the second half of the twentieth century and influenced the transformation of historical politics in many cities, regions, and countries. In Russia, a diverse and rich musical past, related to the history of late Soviet popular and rock music, has only recently begun to be studied and represented in the urban space. The article discusses the ways of authorising the musical heritage associated with the history of the Leningrad Rock Club in contemporary St Petersburg. The research is based on field data collected in 2020–2021: in-depth and spontaneous interviews with musicians participating in the Leningrad Rock Club, rock journalists, employees of the Pushkinskaya, 10 Art Centre and the Kamchatka Rock Club-Museum, and field observations during guided tours of rock-related places in St Petersburg and exhibitions dedicated to the history of Leningrad rock. The author proposes to consider the urban musical heritage in St Petersburg self-authorised. The examples studied in the article are initiatives of the predominantly St Petersburg rock community of musicians, journalists, and city activists. Its key forms are excursions, installation of memorial plaques and signs, temporary exhibitions, and opening of a museum dedicated to the history of Leningrad rock music based on the Pushkinskaya, 10 Art Centre. Despite the traditional format of representing the memory of the musical past, the organisers do not seek to designate the musical places of modern St Petersburg in terms of “authorised heritage discourse” but gravitate toward a less formal conversation and representation of this past.