Artistic Life Research Articles

Performance, Art, Institutions and Interdisciplinarity

How have funding, art education, and politics affected the development of performance and interdisciplinary art? In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s.

SOCIO-CULTURAL CONDITIONS OF FORMATION AND POPULARIZATION OF ART DECO STYLE IN GALICIA

The Art Deco style was reflected in the works of Ukrainian fine and decorative arts artists. In domestic art analysis, this style has been studied fragmentarily, so there is a need to fill these gaps. The author of the article investigated the socio-cultural conditions of the formation and popularization of Art Deco style in Galicia. It was determined that active socio-cultural phenomena influenced the development of the artistic life of Galicia during the interwar twenty-year period. This became the proper basis for the formation of new European styles, in particular Art Deco.Keywords: Art Deco style, socio-cultural conditions, Galicia, interwar period, artistic association.

“Chanson triste” by Henri Duparc – Jean Lahor: in search of artistic perfection

Statement of the problem. The specifics of Henri Duparc’s ideal of artistic perfection conditioned by the uniqueness of his personality, have so far remained outside the scope of scientific interests of researchers. However, the perfectionist beliefs of the French composer, on the one hand, led to his stellar achievements, and on the other, caused the tragedy of his life and artistic heritage. Therefore, the study of the details of Duparc’s creative life and his aesthetic beliefs is of significant research interest, which is enhanced by the connection of his views with the general context of the artistic life of France at the end of the 19th century, with its attraction to refined aestheticism, when perfectionism acquires the importance of a creative method in advanced literary and artistic circles. Evidently, the mélodie genre in principle corresponded to Duparc’s ideas about perfection in musical and poetic art, because it was with him that he connected his creative inspiration for many years. Objectives, methods, and novelty of the research. The scientific novelty of this study is determined by its purpose: based on the analysis of the first Duparc’s mélodie “Chanson triste” (“Sad song”) on Jean Lahore’s verses and the historical context of its creation, to reveal the essence of perfectionism as a creative method of musical and poetical arts of the fin de siècle era, as well as the specifics of individual manifestation perfectionism in both artists, and also to reveal the features of the French composer’s artistic ideal. The realisation of the research purpose required the introduction of such methods as historical and contextual, biographical, axiological, genre and style. The biographical method as a leading used to identify the features that led the authors of the “Chanson triste” to perfectionism. It involves the generalisation of knowledge about the life and creative circumstances that accompanied the forming the “biographical scenario” (Savytska, 2009). The latter was carried out according to the laws of a drama, the three acts of which are correlated as prologue – culmination – epilogue (Roshchenko, 2019). As for the creative path of H. Duparc, the function of the prologue was played by studying with S. Frank, the culmination – the creation of masterpieces, and the epilogue – the author’s revising of already written works. The study of Duparc’s personality and vocal heritage from this standpoint involves not only the analysis of artistic texts, but also biographical data. Research results and conclusion. The example of “Chanson triste” by Henri Duparc on Jean Lahore’s poem demonstrates the specificity of perfectionism as a means of achieving faultlessness, in the sense that was characteristic of the French musical and poetic art of the second half of the 19th century. This is, first of all, the ideal of a harmonious synthesis of words and music, which manifests itself in poetry as the “musicalization” of the verbal text, while in music – in flexible intonation expressiveness, which emphasizes the beauty and meaning of a poetical word. According to the convictions of outstanding artists of the word of this era, in particular the poets of the symbolist circle (“Parnassian school”), the rationalization of the creative process that manifests itself in special attention to all the details of the poetic form for conveying the subtlety and ambiguity of poetic images, allows to achieve this ideal. In Duparc’s “Chanson triste”, the effectiveness of this method is clearly demonstrated: the artistic perfection of the work is achieved thanks to the organic combination of words and music, manifested in the peculiarities of prosody; in filling the poetic text with greater sensuality and new meanings thanks to music; the latter is facilitated by the method of generalization through a genre (for example, the musical semantics of nocturne enhances the “night” flavor of Lahore’s poem); in the principle of economy of artistic text (“through” intonations, rhythmic unification of accompaniment); in overcoming the strophic nature of the poem due to the absence of literal repetitions of the musical material of couplets-quatrains and “through” musical and dramaturgical development. If for Lahore, the perfectionism did not have harmful consequences, then for Duparc, who created outstanding examples of French mélodie, the thirst for perfection, having acquired painful forms (endless self-censorship), turned into a kind of self-ruining. This led to the destruction of a number of finished talented works as not corresponding to the perfectionist views of the composer. If the desire for perfectionism is usually only a certain period in the life and work of most composers, for Duparc the creation of masterpieces became an unchanging desire. This internal need and increased demands for one’s own music led to the greatness and tragedy of both, Henri Duparc himself and the works written by him.

Machina Aesthetica: Impressions on Art in and out of the Machine Age

Abstract Paul Chan reflects on his experiences as an artist working in and out of domains of technology, from truetype fonts and pirated software to datasets and machine-learning frameworks. He recounts periods of his artistic life when he abandoned technologies as instruments of production. And he offers an idiosyncratic account of a lineage of artists and writers he admires who used and abused technology in aspects of their work—including Agnès Varda, Chris Marker, the Left Bank Group in 1960s, Yvonne Rainer, Theodor Adorno and the Radio Research Project; the bio-cybernetic work of free-jazz musician, programmer, and artist Milford Graves; the pioneering sound work of Maryanne Amacher; and the writer Claudia La Rocco—and how their dynamic and at times contentious relationship with technology proved vital to their understanding of what art under the influence of historical and social progress looks like.

The Existence of Art and Ritual in Hindu Social Religious Life

Art as part of human society can give the beauty in this life. This will then give rise to debates in Hindu religious social life that art for some people only as complementary. Alone Basic problem discussed in this paper is how do the art universally and how do relevance art and ritualistic in Hindu religious life. Methods used by qualitative analysis and theory used is dramaturgy (Goffman ) and the sacred reality (Eliade). His innovation is a man is basically it can adjust his forward with change there. Art as part of the breath of life that cannot be separated from human culture. In addition, the existence of art and ritual into something complementary because in the the gandharwa vedas also taught about the vedas is the sort of art and performances were sent to the natyasastra which in this basic emotions in art to bring up appreciation values in practice the religion.

THE AMBIVALENCE OF NOSTALGIA AS AN ETERNAL RETURN TO THE CITY OF CHILDHOOD: F.I. CHALIAPIN AND KAZAN

The article is devoted to the analysis of nostalgia in the life of F.I. Chaliapin, which determined the novelty of the work. With the help of biographical and analytical research methods based on autobiographical prose and letters of Fyodor Ivanovich, memories of his loved ones, it was revealed that Kazan, as the city of birth and youth, played the role of a significant symbol for the singer. Fyodor Ivanovich was nostalgic for Kazan, especially after emigration. The method of historical modeling revealed ambivalent features of Chaliapin's nostalgia, which had ambiguous consequences for him. In the life and work of the singer, restoring nostalgia associated with creativity and reflective nostalgia intersected, in the context of which the irrevocability of the past and the finiteness of human existence were realized. At the same time, in the last years of the artist's life (due to the spatial and temporal gap with Russia and the lack of energy supply), reflective nostalgia with its pessimistic moods took dominant positions. Fyodor Ivanovich's tragic worldview began to prevail, which contributed to his sudden death. Nostalgia, as an eternal return to the pages of Kazan life in memory, testified to the strength of the artist's character, who was able to relive not only positive but also negative experiences and use them in the situationality of life and creativity. The results of the conducted research contribute to the further study of nostalgia in the life of creative personalities, which will allow us to identify its features in each specific case.

Mary of Bethany: Creation through Conversation

The author uses the story of Mary of Bethany anointing Jesus’s feet in John 12 as a jumping-off point for considering the prophetic role of artistic conversation, in the Gospel of John, in the whole Bible and in her own artistic life.

The becoming of online students’ learning landscapes: The art of balancing studies, work, and private life

How do online students manage to balance studies, jobs, and private life – and yet succeed with their studies? Online studies typically attract students in jobs who seek to formalize their competence. Based on qualitative research design, this article sheds light on the academic learning of online students who attend a full-time program. Our focus narrows down to the inaugural class of online students enrolled in a Business and Administration bachelor's program. Specifically, our inquiry delves into the dynamic relationship between the academic progression of these students and their spatial and temporal activities. The article suggests that understanding this polycontextuality by using the metaphor of learning landscapes can help practitioners and students reflect on what influences their academic learning, which can help online students develop self-management skills. Self-management skills are essential in online education, and to help students develop such skills, educators must be aware of the individual learning landscapes of online students when designing online courses. In addition, our findings provide knowledge on how to on-board students in perennial online educational courses.

TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART

This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the democratization of Ukrainian society, and therefore artistic life, raising the tone of the national scene, cinema, and opening up new opportunities for stage art. A feature of the scientific research of symbolic forms in this area of art is the analysis of the possible addition of the mutual enrichment of theater and myth at the level of mythological narratives, status oppositions, plot matrices, communicative strategies and symbolic forms, a new mythocentric discourse of modern dramatic genre modeling. And also a multimedia lighting technician with the latest information and digital technologies and the possibilities of using Artificial Intelligence (AI) in the newest Ukrainian theater. The use of compositional techniques in combination with the latest technologies, AI in creating the atmosphere of a modern theater allows you to focus on the performers and the performance, and not on the complex decor. In addition, stage spaces are becoming more flexible, able to adapt to different types of performances and events. The use of the latest intellectual technologies is especially valuable and extraordinary. Modern theaters and Ukrainian cinema are constantly introducing advanced technologies to improve the impression of the audience. This may include the use of projection mapping, virtual and augmented reality, interactive elements and other innovations that help create a unique atmosphere and attract the audience. 

The Important Significance of Introducing Students to Artists' Creations in Circle Classes (Ural Tansikbaev)

In this article, the opportunities given to young people and the important role of our talents, the importance of visual arts in human life. The head of the fine art club is informed about the search for himself, the first step of creativity, the important aspects of the work of artists in the use of new technologies in their training. Analysis of the main laws and rules of nature painting in fine art classes and the life and work of the artist Ural Tansikbaev, who created in this genre in Uzbekistan. Opinions were expressed about the importance of the works of famous artists in the lives of our youth. In the article, the important role of developing the aesthetic taste of young people through the genre of landscape in fine art classes. Information about the influence of the landscape genre on human life has been given.

Art education as a means of forming cultural identity and civic consciousness

The purpose of the article is to study art education as a means of forming cultural identity and civic consciousness. To achieve this goal, theoretical methods of cognition were used, in particular, the most important methods of analysis, synthesis, and content analysis. The results show that modern technologies are widely used in the field of higher art education. This includes not only technical aspects, but also theoretical and pedagogical approaches to teaching. In modern methods of higher education, the emphasis is on the development of students' personalities, broadening their outlook, skills and abilities. Traditional models of learning that existed before the introduction of distance learning are undergoing significant changes, leading to experimental approaches to teaching in art universities. Particular emphasis is placed on the democratisation of educational processes, digitalisation of art education and the use of computer technology. The desire to ensure unity in diversity, which is a necessary component of modern European integration aimed at overcoming the negative effects of globalisation, is also important. One of the key components of the development of modern higher art education is the use of digital technologies. This allows students to create a significant amount of creative work while studying and include it in their professional portfolio. This approach is particularly relevant in the European labour market. Ukraine's experience in applying modern teaching methods in the field of music is in line with European development trends. At the same time, due to Russian military aggression and obsessive propaganda, there is a need to update research on Ukraine-centric music topics. It is important to emphasise the development of Ukrainian art, the study of the life and legacy of prominent teachers, performers and artists, and the integration of the acquired knowledge into the educational process. The conclusions emphasise that the combination of Ukrainian specificity and modern digitalisation trends creates objective conditions for the development of musicology in Ukraine and its presentation at the international level.

Kozma Soldatenkov (1818-1901) and his collection in the context of the artistic life of Moscow in the second half of the XIX century

The article examines the role of merchant, philanthropist, and collector Kozma Soldatenkov in the artistic landscape of Moscow during the 1850s-1890s. The purpose of this study is to understand the impact of Soldatenkov on the formation of museum and exhibition programs in Moscow. By analyzing his art collection and his activities as a collector, we can gain a deeper understanding of his contribution to the cultural landscape of the city. This research is based on a systematic historical approach that allows us to contextualize Soldatenkov's work within the broader context of art collecting and cultural development. The purpose of the article is to determine the contribution that he made to the development of museum and exhibition practices in Moscow, at a time when there was an increased interest not only in domestic art collecting, but also in addressing theoretical and practical challenges of artistic production. The scientific novelty of this study lies in the absence of works in Russian historiography that summarize the achievements of second-half XIX century Moscow collectors in the field of culture, focusing on Soldatenkov's position as one of the first collectors in Moscow's cultural landscape. This research is relevant due to the growing interest in understanding various aspects of collecting history in the XIXth century. Familiarity with the sources allows us to conclude that the Soldatenkov collection had been well-known to the artistic community for a long time, and its owner was not absent from the main events of cultural life. He invested heavily in the creation of public museum spaces in Moscow, and his collection itself served as a reflection of his cultural and social standing. It was a clear indicator of his support for Russian artists and his desire to strengthen the artistic life in the city.

Review of D. Stephen Long, The Art of Cycling, Living, and Dying: Moral Theology from Everyday Life

Review of D. Stephen Long, The Art of Cycling, Living, and Dying: Moral Theology from Everyday Life

Development of Hand Gesture Command Using Leap Motion for Floorplanner Application

Architecture is part of the art of life and works best when it seems to give expression to the life that inhabits it. As technology has developed a lot, the field of architecture has also experienced many developments supported by technology such as making architectural designs. The development experienced in making architectural designs is that it is no longer required to draw design choices with side views on a lot of paper but instead use a simulation application for making architectural designs that are displayed through a monitor layer in 3D so that they can see more realistically. After many innovations emerged regarding simulation applications which generally still use hardware such as a mouse, then these innovations shifted to connecting the simulation application with the virtual world where hardware such as a mouse has been replaced by using gestures or limb movements such as parts of the hand or other parts of the body. While other fields like medic already use virtual tool interaction, architecture fields still just use mouse and keyboard. One of the virtual interaction devices used to be able to detect fingers and palms to interact with 3D simulation applications is Leap Motion. Leap Motion is starting to be widely used to carry out various ways of interacting with hands because it is more interactive and interesting to use even many people think that it can be used for hand rehabilitation or therapy too. However, even though many innovations have developed, there is still no innovation in the use of a hand gesture command system using Leap Motion for simulation applications to design architectural designs in 3D views. Based on these things, the authors designed and developed hand gesture commands using Leap Motion for Architectural Design App. The hand gesture command system used for the Floorplanner simulation application will be tested using a system usability scale by users with architectural, informatics, and unfamiliar backgrounds. Based on the tests carried out, it can be seen that the system is running properly even though it requires getting used to the device first and getting a score from the System Usability Scale of 59,167 out of scale from 0 to 100 which means it is still accepted by users or declared as "Marginally Acceptable" category.

„Portret jednego człowieka”. Przyczynek do biografii Haliny Rząsowej (1924–1980), zakopiańskiej fotografki

The Only One Man Portrait: Contribution To the Biography of Halina Rząsa (1924–1980), a Zakopane Photographer Although Halina Rząsa (1924–1980) was a photographer of considerable reputation in Zakopane, we are able to say next to nothing about her life and work. She is mostly remembered and mentioned as the wife and mother of two famous sculptors: Antoni Rząsa (1919–1980) and Marcin Rząsa (born 1965). The article looks at the history of the Zakopane artistic circles in order to reconstruct in detail the biography of this underappreciated artist. The author uses information and photographic material from a private family archive deposited in the Antoni Rząsa Gallery in Zakopane. Halina Rząsa moved to Zakopane in the 1950s. Along with her first husband, Janusz Vogel, she worked with landscape and documentary photography, concentrating—among others—on the local artistic life. One of her main subjects was a well-known Zakopane sculptor, Antoni Rząsa. The two soon fell in love, had a son, and got married. Halina Rząsa’s subsequent photography reflected the daily life of her family, region, and the Tatra mountains. Today, it is a perfect source of data for an analysis of Antoni Rząsa’s oeuvre. At the same time, it is essential to understand that Halina Rząsa was a creative and innovative artist in her own right and deserves to be remembered and appreciated as such.

Commercial Activity of Professional Art Associations in Russia at the Turn of the 19th−20th Centuries

The purpose of the article is to highlight the economic aspects of the functioning of exhibition associations of artists in Russia at the turn of the 19th–20th centuries. Understanding the role of commercial associations of artists in the structure of the domestic art market opens up opportunities for a more in-depth and detailed studying of the features of the artistic life of Russia in the late 19th and early 20th centuries.

Innovative, traditional, and classic-innovative forms of popularization of the literary heritage of Bruno Schulz

One of the tasks that modern literary critics, art critics, cultural experts, etc., are still solving is the need to disseminate actively information of various types on Ukrainian territory and throughout the world about this or that Ukrainian artist, that is, scientists are engaged in popularizing the life and creative heritage of more or less well-known artists to a wide audience of creative personalities of Ukraine. The article deals with the expansion of Schulz’s literary discourse in Ukraine and the attraction of new and new admirers of the creative work of the world-famous Galician writer from Drohobych Bruno Schulz to the Schulz Ukrainian community thanks to the use of innovative and classical forms of artistic popularization. The author of the scientific research focuses on the relevance, necessity, and correctness of accelerating the processes of entry of the bright Galician writer of the first half of the 20th century, Bruno Schulz, to the Ukrainian reading, literary, literary studies, and artistic discourses precisely through the prism of representation of various forms of popularization of Bruno Schulz’s biography and creativity. In the investigation the place and role of Bruno Schulz in the world literary and artistic discourse have been characterized; the level of awareness of both specialists and ordinary citizens with the creative heritage of the artist on Ukrainian territory has been clarified; innovative, innovative-traditional, classic forms, methods and techniques of popularizing the figure of Bruno Schulz among the broad strata of modern Ukrainians are systematized, and recommendations on the outlined issues have been formulated. Given the fact that Bruno Schulz is world-famous not only as an author of prose works but also as a philosopher, literary critic, literary theorist, epistolographer, artist, painter, drawer, draftsman, graphic artist, translator, educator, these facets of the multifaceted talent of the artist will become the subject of further scientific investigations by the author of the publication because they also need a certain popularization.

Ferdynand Ruszczyc i wileński świat teatru

The article showcases a wide spectrum of Ferdynand Ruszczyc’s artistic activity, in particular his role in shaping the Polish scene of Vilnius and the Vilnius region in the first decades of the 20th century. Ruszczyc’s achievements as a creator of modern scenography in cooperation with professional theatre are unquestioned, as well as the artist’s strong commitment to the animation of culture in the broadly understood public space. Ruszczyc’s stage productions have become a permanent part of Vilnius’ artistic life, reinforcing the living legend of the city from the theatrical spirit, emphasising the beauty of its monuments, integrating the community with the place and cultural tradition, maintaining memory and national identity. The study, in a synthetic approach, presents diverse nature, artistic and social resonance of the performances, the phenomenon of which has been recorded by numerous memories and research works. A valuable testimony used in this article are Ruszczyc’s Diaries (Ku Wilnu and W Wilnie), which in a diary and epistolary form document numerous activities of the artist, as well as allow deeper access to various experiences and sources of his vision of the theatre.

MUSICAL THEATER AND MEANING MAKING IN A RETIREMENT COMMUNITY

Abstract “I think I’ve had it up to here with pickleball…” Thus begins the first song in “Movin”, an original musical written, produced, and performed by members of a continuing care retirement community (CCRC), which addresses themes ranging from dementia, death and widowhood to finding community, purpose, and late-life love. The idea began in informal conversation between two former university colleagues, Philip Sloane (a geriatrician, GSA member, and former CCRC board member) and Hugh Tilson (a CCRC resident, aged 82) about describing the aging experience through song. Hugh gathered a group of fellow CCRC residents, none of whom had professional songwriting or theater experience but several of whom had musical backgrounds or an interest in theater. Meeting regularly over nearly two years, they envisioned, created, and then produced an original musical around the theme of “freshman year in a retirement community.” The final production included 9 cast members, 12 original songs developed by five lyricists and two composers, many production-related volunteers, and a narration to link the songs together. This symposium will describe the process, present and illustrate aging-related themes from the production, place the musical in the context of existing research about meaning-making and the arts in later life, and conclude with a discussion by a senior leader in a major senior housing organization. Presentation about development and production of the musical will include videos of rehearsals, songs from the production, and interviews with performers. Sponsored by the Humanities, Arts, and Cultural Gerontology Advisory Panel

Тоталітарні режими Європи та музика: хроніки протистояння

The article analyses the relationship between artists and the totalitarian regimes that prevailed in Italy, Germany, and Ukraine in the twentieth century. The relevance of the topic is due to the need for a deep study of the processes that took place in the field of art in the twentieth century, since this era is characterised by close interconnections of artistic research with certain philosophical, aesthetic, and ideological systems. Musical life reflected the social processes that took place in different locations in Europe during that period, including the principles of neo-myth-making inherent in totalitarian ideologies. The mythologisation of mass consciousness required complete submission from art. Not all famous musicians were able to openly oppose the ideology of totalitarian regimes, as they felt an immediate danger to their own lives. The fascist and soviet regimes demonstrated all kinds of punitive systems in the face of disobedience and deviation of the artist's work from the general vector of artistic life - from doom to oblivion to complete moral and physical destruction. Based on existing studies by foreign and domestic scholars, the authors of the article aim to recreate the events of the creative life of famous artists in the context of their complex relationships with the authorities and confrontation with totalitarian regimes of the 1920s-1950s. Recreating such chronicles is a necessary component in creating a systematic view of the role of the artist in the sociocultural continuum. The complex and ambiguous relations with the authorities are examined on the example of the creative life of composers P. Hindemith and B. Martinů, conductors W. Furtwängler, H. von Karajan, O. Klemperer and A. Toscanini. Some of them took a position of outright opposition to the regime (A. Toscanini), others - of collaboration with it (H. von Karajan), and some made constant attempts to manoeuvre between their own conscience and the need to express support for the regime. Understanding the actions of each individual artist in the complex socio-cultural situation of the totalitarian regime is possible only if the specifics of social psychology and national culture are taken into account, which further requires an interdisciplinary approach to the study of the problem. Understanding the actions of each individual artist in the complex socio-cultural situation of the totalitarian regime is possible only if the specifics of social psychology and national culture are taken into account, which further requires an interdisciplinary approach to the study of the problem.