Artistic Process Research Articles

REPRESENTATIONS OF STILL LIFE IN CHINESE PAINTING OF THE FIRST HALF OF THE 20TH CENTURY: THE SHANGHAI SCHOOL

The purpose of the article is to determine the ways of formation of still life as a genre in the first half of the 20th century and the features of its conceptualization; highlighting the creative output of representatives of the Shanghai school in the field of depicting the objective world. A wide range of visual materials is considered, and a circle of representatives of the Shanghai school who participated in the development of still life as an independent genre of painting is identified. Wu Changshu and Qi Baishi are among the most significant creators of still life. Representative samples and leading approaches to the development of the figurative structure of still life, its understanding as a complete symbolic and artistically expressive composition, as a gift and expression of an individual creative principle are identified. The connection of the Shanghai still life with the previous tradition is shown, and the decisive influence of wenrenhua aesthetics is highlighted; the significance of Shanghai as an artistic center and a cosmopolitan environment for the development of the artistic process is pointed out. It is emphasized that the still life of the Shanghai school became a transitional link to the still life of the Western style. The cultural status of still life as a result of the activity of scientists determined its perception by Japanese artists, the representatives of the Nanga school and ensured its further spread in the art of China, Japan and Korea. The main approaches to the interpretation of pictorial motifs close to still life are determined. Traditional and modern aspects in the depiction of the objective world by representatives of the Shanghai school in the first half of the 20th century are identified. The practical significance of the research results lies in the possibility of their use in the development of the conceptual framework for educational courses, textbooks, as well as in artistic and museum practices.

Attempts to Communicate the Transcendent in Contemporary Art: An Artist’s Point of View

The article investigates attempts in contemporary art to convey transcendent realities through the lens of the artist. This study examines three key moments of the artistic creative process: intuition, asceticism, and silence. The article assesses silence or stillness as a specific mental state that enables us to evaluate reality with a heightened awareness of our own length, fragility, and the infinite that awaits us on the other side of existence. In artistic practice, silence is a prerequisite for authenticity, believability, and creativity. The article explores the possibility of uncovering and revealing the transcendent via matter through the author’s own artistic inquiry. It discusses art as a master of transforming material, psychological, and physical facts into shapes that hint at what is beyond what the eye or ear can perceive. Art can lead to the sublime and open the mind, eyes, and heart to that which is beyond. The expression of the transcendent through artistic action is observed by analyzing the relationship between the artist and intuitive knowledge in the artistic practices of contemporary and modern artists. Along with the qualitative method of narrative research, research methodologies specific to the artistic field (visual arts) were predominately used, expanding the boundaries of qualitative research by taking a holistic approach closer to the very nature of the artistic process and allowing for a more complete understanding of the process itself.

Directions of updating the cultural heritage of Roztochchia in the conditions of war

The relevance of cultural and educational activities to ensure the promotion of the Ukrainian Roztochchia region has been analyzed. In connection with the processes of decentralization, a number of problems arise with the passporting of objects of cultural heritage, innovations in document circulation, etc. Active military actions on the part of Russia lead to large‒scale destruction or complete destruction of the artistic heritage of certain regions of Ukraine. In the current conditions, measures for security, fixation, preservation and promotion will be of great importance in the cultural and artistic space both for a separate region and for the state as a whole. The need to capitalize the resources of cultural strategies has become especially acute during the 2022-2023 war, a time when the issue of heritage preservation is a priority at all levels of state formation. The opening of cross‒border road connections between Ukraine and Poland created favorable conditions for the development of tourism. This allows increasing tourist flows, especially from European countries to Lviv, and also requires the development of tourist infrastructure on both sides of the border: hotels, cafes, eco-stops, agro‒villages, etc. Cross‒border tourism has covered only the roadside (along the main transport arteries) part of the Roztochchia region, but the majority of artistic attractions, namely the heights of Roztochchia, remain outside the international tourist flows. The lack of land border crossings, information sources about tourist routes, insufficient provision and low standard of logistics services, especially from the Ukrainian side, lead to the leveling of cultural heritage and its promotion. International projects, competitions and grants will be important factors supporting the development of artistic processes in the region. High civic consciousness and the activity of cultural institutions will lead to significant positive changes in the issues of preservation and promotion of regional features, their identity and uniqueness.

The evolution of the imaginative and plastic concept of creativity by V. Prykhodko in the context of socio-cultural transformations of the second half of the 1980s to the 2000s

The exploration of Vyacheslav Prykhodko's creative legacy within the context of regional and national artistic processes from the second half of the 20th to the early 21st century prompts the identification of leading artistic tendencies and the analysis of the master's creative issues. This study aims to uncover aspects of the dialogue with tradition that reveal the distinctiveness and representativeness of the artist's oeuvre. In the period of 1980-2000, V. Prykhodko's creative work witnessed the formation of an authorial imaginative and plastic concept characterized by the elevation of ordinary phenomena and processes to symbols and metaphors of life. It involved a departure from naturalistic-mimetic approaches to a transition towards generalized-conditional, imaginative-symbolic perception and reproduction. The construction of artistic imagery was guided by the principles of harmony as an aesthetic category and the foundation of worldview. This concept entailed the fusion of the rationality of the creative method and the structural integrity of pictorial representation with poeticism, color expression, and the dynamics of planes, lines, and shapes. Factors contributing to V. Prykhodko's creative evolution included the vibrant artistic life of Uzhhorod and informal creative communication, as well as his passion for music, theater, world literature, and exposure to information about global artistic trends. The artist's stylistic exploration was significantly influenced by modernist elements in Transcarpathian visual arts synergized with the decorative aspects of folk artistic traditions. Within the realm of Transcarpathian painting, V. Prykhodko's work belongs to the "innovative pole" of Transcarpathian visual arts and its "experimental direction," alongside other representatives such as E. Kremnytska, F. Seman, and P. Bedzir. A distinctive feature of the artist's body of work within this direction is the strong foundation of academic art education and the assertion of his creative independence through the exclusive selection of expressive means and the stylistic approach in his works.

The Art of Scientific Observation: an art-science project on the legacy of Barbara McClintock

Abstract We explore a facet of the scientific method of the Nobel Laureate Barbara McClintock through an artistic process. McClintock’s key scientific insights that she coined the ‘breakage-fusion-bridge cycle’, rest on her observation of maize kernel colors and forms together with the spatial arrangement of chromosomes. These intriguing studies motivated the art project ‘break-fusion-bridge-cycle’ to highlight the role of visual observation in discovery. Four different posters bear irregular diamond shapes with forms reminiscent of X-chromosome shapes and color patterns of the kernels McClintock studied and are inscribed with the words break, fusion, bridge, and cycle using a font type inspired by her drawings of chromosomes. As freely available posters, anyone can experiment with the spatial arrangement of shapes and colors, to reflect on one’s own ability to observe, to make connections and create new insights.

METHODICAL APPROACHES TO ABSTRACT PAINTING: INSIGHTS FROM ABHIJIT PATHAK

This research emphasises the manner in which Abhijit Pathak, an Indian artist, imbues his abstract paintings with energy through careful and precise techniques, capturing the profound essence of his thoughts. By analysing Pathak's creative process, the study endeavours to identify the strategies and methods he employs in his art. Through interviews with Pathak, this paper reveals his thought process and approach to painting, thereby providing invaluable insights into his art. He deploys a variety of materials and techniques to achieve the desired effect in his paintings, while his approach is marked by discipline and focus. This research illuminates the intricate interplay between cognitive processes, techniques, and outcomes in abstract painting, as observed through Pathak's artistic process. The findings affirm the value of Pathak's systematic approach as inspiration and guidance for other artists, empowering them to develop their unique visual language. His work exemplifies the importance of planning, preparation, and comprehensive knowledge of abstract painting methods and materials. By exploring Pathak's methodology, this paper aims to advance knowledge of abstract painting as a multifaceted and nuanced art form.

Ine, Decorative Art & Design: Current Issues Of The Terminology Correlation.

The aim of the article. To find out the current theoretical and terminological activity caused by the nostrification of artistic and educational processes in Ukraine and the world using educational administration. It is noted that schematics and unification come into conflict with the historically formed terminology in the field of methods of art and design education, which have become the historical image of schools. The global civilizational changes that radically weakened the resistance and ability to self-development of authentic varieties of art are considered. The loss of immunity from unification affected the field of terminology, which is a kind of indicator of changes. The starting position of novelty is the understanding that art is not a resource bound in artificial terminological schemes, but a self-sufficient value. Practical significance. Considering the old and new paradigms, building your system of values is recommended, which are concentrated in the field of terminology. Based on the analysis of a large block of literature, it is recommended to preserve the educational programs "Aesthetics", and "Philosophy of Art" as fundamental in Art Academies of modern Ukraine. The conducted analysis of the literature draws attention to the terminological developments of the Faculty of History and Theory of Art of the Lviv National Academy of Arts, which require systematic continuation. Main results. It has been observed that the obsessive juxtaposition of classical and non-classical vectors of creation, as well as "old and new" terminological systems, psychologically traumatizes artists. Contrasting and unifying involuntarily distorts the truth, and thus harms the art itself. During the periods of Ukraine's statelessness, the enemies politically "justified" the new terms as "relevant" and interpreted the national terms as "obsolete". It is recommended that artists-pedagogues and art historians establish the mission of interpreters and "talismans" of the primary and newest values of fine, applied art and design. The need to correlate artistic and administrative-educational terminology in one's language has been put forward as a major problem. In particular, using the example of fine and decorative arts, it is proposed to use the existing administrative and terminological division of specialties "by default". However, the content-conceptual part of educational programs should be enriched with a historically verified spectrum of terms and concepts with their inherent local connotations. It has been observed that in the historical-artistic and sacral-morphological sense, the term "applied art" is not the same as "craft". The relevance of the commonly used by leading Ukrainian art critics of the 19th and early 20th centuries has been proven of the term "applied": that which is "in life", "in use". It is emphasized that global civilizational changes have radically weakened the resilience and ability to self-develop authentic varieties of applied art. The loss of immunity from administrative unification hurt the field of terminology, which is a kind of indicator of changes

A Study on Webtoon Generation Using CLIP and Diffusion Models

This study focuses on harnessing deep-learning-based text-to-image transformation techniques to help webtoon creators’ creative outputs. We converted publicly available datasets (e.g., MSCOCO) into a multimodal webtoon dataset using CartoonGAN. First, the dataset was leveraged for training contrastive language image pre-training (CLIP), a model composed of multi-lingual BERT and a Vision Transformer that learnt to associate text with images. Second, a pre-trained diffusion model was employed to generate webtoons through text and text-similar image input. The webtoon dataset comprised treatments (i.e., textual descriptions) paired with their corresponding webtoon illustrations. CLIP (operating through contrastive learning) extracted features from different data modalities and aligned similar data more closely within the same feature space while pushing dissimilar data apart. This model learnt the relationships between various modalities in multimodal data. To generate webtoons using the diffusion model, the process involved providing the CLIP features of the desired webtoon’s text with those of the most text-similar image to a pre-trained diffusion model. Experiments were conducted using both single- and continuous-text inputs to generate webtoons. In the experiments, both single-text and continuous-text inputs were used to generate webtoons, and the results showed an inception score of 7.14 when using continuous-text inputs. The text-to-image technology developed here could streamline the webtoon creation process for artists by enabling the efficient generation of webtoons based on the provided text. However, the current inability to generate webtoons from multiple sentences or images while maintaining a consistent artistic style was noted. Therefore, further research is imperative to develop a text-to-image model capable of handling multi-sentence and -lingual input while ensuring coherence in the artistic style across the generated webtoon images.

The preoccupations of the compressive references and their impact on the formations of postmodern art

The artistic process operates whether in general in all arts or specifically in one type of arts or one of the genres of arts types on the preoccupations of the pressing artistic references as the founder of the artistic work in the material formulations on the one hand and on the other hand as a translator to understand the artistic achievement in general and plastic art in particular and for the importance The researcher chose the title of her research tagged (the preoccupations of the pressing reference and its impact on the formations of postmodern arts).The first chapter of the methodological framework deals with the problem of research, importance, objective, limits, and then terminology and its definition, and then the second chapter, which consisted of two chapters in the concept of the pressing technical references, and the second chapter dealt with the aesthetic preoccupations of the pressing technical references in the artistic achievement, and then the indicators of the theoretical framework, and then the research procedures that formed the third chapter With the analysis of the sample, and then the fourth chapter, the results and conclusions, and the most important results were: The reference system in general, and the pressing artistic reference, in particular, works to generate a different artistic achievement on the aesthetic and intellectual level, and the functional and intellectual preoccupations as an expressive aesthetic value for the artwork.The most important conclusions: The expressive power as an intellectual value linked to the form is determined by the pressing artistic references as the mediator responsible for translating ideas from the invisible in the imagination of the artist to the visible in the material medium and then to the invisible in the mind of the recipient. And then the sources

COMING TOGETHER – EXTENDED ARTISTIC DIALOGUE

This article is based on three performance papers, which started as a cocreated performance project based on a Greek myth in the autumn of 2021 and continued in 2022. A transdisciplinary artistic collective consisting of an oral storyteller, a choreographer/director, and a textile artist take a closer look at our experiences and what we named as “the extended artistic dialogue”. With the research question: what can recognize an extended artistic dialogue? the article discusses what is needed in an extended artistic dialogue. The collaboration created a togetherness at the same time embracing the specialty from each artform. The artistic process was vibrant and dynamic as it continuously changed along the way, developing the scenarios in the performance and one’s own poetic. Listening opens the participatory process and was an experiencing for new knowledge and interpreting the experience. Our experience is that the extended artistic dialogue through the artistic processes creates relational places where the artforms flourish through respectful, inclusive, and equitable treatment of others sharing professional information, knowledge, and ideas.

TOWARDS A METHODOLOGY FOR INTERPRETING VISUAL IMAGES AS CYBERNETIC SYSTEM: LACAN AND DELEUZE

This exposition endeavors to outline a theoretical framework for a methodology to interpret visual images that draws on cybernetics, semiotics, psychoanalysis and philosophical ideas. Using images, aesthetics and artistic practices as a means of generating new understanding requires translating, deciphering and interpreting those artistic products and/or processes. How can one decipher the system of visual language that underlies artistic productions? I suggest that cybernetics is requisite for such an endeavor. Cybernetic theory is the science of relations within a system, taking as its problematic the relation between a system and its productions or output; in some instances, it studies how the productions of a system influence the system itself. This exposition endeavors to articulate aesthetics or artistic works in terms of a visual language and as a cybernetic enterprise in the context of art-based research by drawing on the ideas of Lacan and Deleuze. For Lacan, aesthetics exists as a primary mode of discourse for the articulations of the unconscious, as evidenced in images in dreams, art and fantasy. Lacan is renowned for his dictum that the unconscious and its productions are structured like a language, but the kind of structure of meaning at work in the unconscious is less related to the structural grammar of a natural language than the syntax of mathematics and cybernetics. Drawing on Lacanian dream analysis, I evince how such an approach could be applied to aesthetic phenomena. Deleuze presents a semiotic theory, a theory of signs which evinces the generation of novel meaning in the unconscious; it can be said to be cybernetic in the way that it exists in a state of continual evolution, the output produced by the system engendering transformation in the system itself. Deleuze offers a framework for how the work of art or aesthetic phenomenon can be translated into new knowledge through the process of entrainment with signs.

TO REMEMBER IS A RISK OF FORGETTING – MIMESIS AND CHRONOTOPE IN ARTISTIC PROCESS

A performing storyteller is completely depending on the memory. In the process of making a performance the storyteller must make some choices regarding the memory. This article is based on a musical storytelling performance. Through using the research question: what possibilities does the chronotope and mimesis provide in an artistic working process towards an oral storytelling performance? the author looks at the concept of mimesis as a process and chronotope as a clarifying term. According to Catherine Heinemeyer, a chronotope is applicable because it is not only about the artistic experience, but the metaphor places the artistic work in contemporary political, economic, and social tendencies. This helps identify ways of behaving in a practice [Heinemeyer 2020]. Paul Ricoeur (1913–2005) relates. Aristotle’s mimesis to poiesis, which means art, and it is therefore only within the art that mimesis is effective [Ricoeur 1991]. The author has used examples from the storytelling performance to understand the concept of mimesis and the metaphor chronotope better.

Choreographical Culture of Ukraine and Creativity of Radu Poklitaru in Theoretical Discourse

The purpose of the article is to study the Ukrainian choreographic culture in the field of theoretical developments with a focus on the work of Radu Poklitaru and his theatre. The research methodology is based on the application of general scientific methods, namely, systematic analysis, which allowed for an analytical review of the problems of contemporary choreography in Ukraine and the world and to study the contribution of Ukrainian choreographers to the process of formation and development of choreographic culture and art in Ukraine. The outline of time dimensions, substantiation of internal correlations and transformations in the development of contemporary choreography required the use of comparative historical and chronological methods. The method of structural-functional analysis helped to identify specific aspects of the functioning of contemporary dance in the cultural space. Comparative analysis was used to justify changes in the classical art of dance and to prioritise traditions or innovations. The cultural approach was used to analyse the process in question and to determine its role in the overall cultural and artistic process. The scientific novelty of the study lies in the hermeneutic interpretation and generalisation of the significant contribution of Ukrainian artists to the development of choreographic culture and art, in particular, contemporary dance, on the example of Radu Poklitaru’s work and the proof that Ukrainian choreographic culture and art correlate with global processes, being determined by cultural and social factors. Conclusions. On the basis of the scientific and theoretical analysis, it has been determined that Ukrainian choreographic culture is actively studied at the theoretical level by choreographers (O. Gres, Y. Kovalenko, A. Korol, M. Korostyliova, A. Pidlypska, O. Plakhotniuk, M. Pohrebniak, D. Sharykov, E. Yanina-Ledovska) and art historians (O. Afonina, I. Horbunova, I. Drach, O. Zavialova, H. Polianska, Yu. Stanishevskyi, O. Chepalov). The main areas of research of scholars are contemporary dance, postmodern aesthetics, which influences the development of choreographers' thoughts, appeal to the reinterpretation of the classics. This is evidenced by the creative work of Radu Poklitaru, a prominent representative of choreographic culture and art. His ballets are considered in the scientific discourse of modern dance, contemporary choreography in Ukraine and the world in terms of his contribution to this process and the development of choreographic art and culture.
 Key words: choreography, dance, ballet, theatre, performing arts, postmodernism, choreographic culture, Radu Poklitaru.

Genre-Stylistic and Performance Features of O. Shchetynskyi’s Works for Wind Instruments

The purpose of the proposed article is to determine the genre-stylistic and performance features of the works for wind instruments by Oleksandr Shchetynskyi. The research methodology is based on the use of the following methods: textual, source and hermeneutical – in the study of musicological and sheet music sources on the chosen topic; analytical – to determine the genre-stylistic and performance features of the analysed compositions; the method of personalisation (scientific biography) – to outline the composer’s contribution to the works for wind instruments; interviews – during direct communication with the author. The scientific novelty of the work lies in the generalisation of significant factual material concerning the work of O. Shchetynskyi and the updating of notographic material analysed for the first time. Conclusions. The compositions for wind instruments and O. Shchetynskyi’s work in general reflect the leading trends in the development of Ukrainian music of the late 20th and early 21st centuries in the context of postmodernism and post-avant-garde as the two most traditionally established concepts for understanding modern artistic processes. On the basis of the analytical characteristics of individual works with the participation of wind instrument by O. Shchetynskyi, their immanent features were determined, such as the use of modern composition techniques (free atonality, dodecaphony, quarter-tones, seriality, and multiseries), which expand the range of performance and expressive possibilities of these instruments (use of heterogeneous glissando and vibrato, raised and lowered quarter tones, multiphonic sounds, specific articulation techniques), a special attitude to sound as a self-sufficient value, which is manifested in a thourough sound elaboration of any idea and the most delicate attitude to rhythm, timbre, dynamics, and articulation. Key words: works for wind instruments, O. Shchetynskyi, Ukrainian music.

Naked data: curating Wikidata as an artistic medium to interpret prehistoric figurines

ABSTRACT In 2019, Digital Curation Lab Director Toni Sant and the artist Enrique Tabone started collaborating on a research project exploring the visualization of specific data sets through Wikidata for artistic practice. An art installation called Naked Data was developed from this collaboration and exhibited at the Stanley Picker Gallery in Kingson, London, during the DRHA 2022 conference. Through data analysis, employing Wikidata tools, this creative work employs a data set depicting prehistoric female figurines held by Heritage Malta. The artistic research aims to develop a creative workflow model for processing essential information about art collections, museum policies, and ways to engage with cultural heritage through data. This article outlines the key elements involved in this practice-based research work and shares the artistic process involving the visualizing of the scientific data with special attention to the aesthetic qualities afforded by this technological engagement.

Symbolism of Artistic Language and Principles of Image Making in Oleh Denysenko’s Art Books

The purpose of the article is to highlight the tools of symbolism of the artistic language of the art books of Lviv artist Oleh Denysenko in the context of contemporary artistic processes. The research methodology is based on hermeneutical, axiological, and semiotic research methods as the basis for understanding the sacred meaning of the sign system in the artist's work. Complex, chronological, biographical, and comparative methods of analysis of the author's works are used. The scientific novelty lies in the attempt to conduct a comprehensive analysis of the art book phenomenon in the context of contemporary art, not only from the standpoint of its positioning as a design category and a graphic phenomenon, but also taking into account the technological side of the work's production. Conclusions. The article is an analysis of one of the most characteristic components of the creative work of the contemporary Lviv graphic artist Oleh Denysenko, who can be attributed to the flagship of the Lviv school of graphics. The article examines the peculiarities and figurative construction of the “artist's book” – art book – in O. Denysenko’s work, taking into account technological characteristics, i.e. it studies all stages of the process from the idea, concept to the visualisation of the idea, the technological side of its implementation. The basic principles of imagery and symbolism of the artistic language used in the approaches to solving the general idea emphasise the value of manual labour and the exclusivity of the artwork. The most interesting examples of the author's creative work presented in the design solutions of art objects are considered. The creative experiments of Lviv graphic artrist Oleh Denisenko, graphic design and technological features of execution emphasise the importance of his contribution to the formation of cultural values and the perception of works of art by society. Attention is paid to the interpretation of signs and symbols that serve as a means of communication between generations and the transmission of the artist's own experience and thoughts. Key words: Oleh Denysenko, symbolism, artistic language, imagery, style dominant, figurative and symbolic language, art book.

“Found Objectionable”

AbstractI explore how film censorship has increasingly shaped film production and circulation at film festivals, public screenings, and theatrical releases in post‐2000 Turkey. I argue that film censorship in Turkey now works through two levels. First, through direct intervention, whereby state institutions continue to censor film production. Although the renaming of control commissions from previous decades via the 2004 “Cinema Law” creates the illusion that censorship boards have been abolished, fieldwork data proves otherwise. Secondly, state institutions designate various non‐state actors as proxies of the state and grant them well‐calculated power to employ on their behalf when necessary. I draw upon fieldwork data and case studies to analyze how the political climate in Turkey has suppressed cultural production, freedom of expression, and political resistance to the Justice and Development Party (AKP) government both through bans on artistic expression and processes of delegitimization, targeting, threats, and violence.

Nuts

The following fairy tale is the creative output from an arts-based autoethnographic inquiry created in partial fulfillment for my Master of Arts degree. Inspired by the doctoral work of Lindsay Eales (2018), my main research objective was to challenge, (re)imagine, and transform conventional dance spaces into spaces that were more accessible for Mad bodyminds. I used artistic processes such as painting, dancing, and journaling to examine my own experiences of madness within and outside of dance spaces. I then took my findings and began writing an autoethnographic creative nonfiction piece in the form of a whimsical fairy tale that sought to deconstruct my personal experiences and reconnect them to other Mad works and texts. In doing so, my fairy tale is not only an imagination of the Mad-affirming dance spaces I wish were available to me throughout my dance career, it is an invitation to imagine Mad-affirming worlds beyond.

Agus Prasetyo Aktor dan Rol Wayang Orang Sriwedari

Agus Prasetyo: Actors and Role of Wayang Orang Sriwedari is an analysis of a person’s character. Agus Prasetyo’s ability of acting and artistic process to become a role is interesting to study because his existence has an impact on the sustainability and development of the Wayang Orang Sriwedari. The problem that is revealed is how the process of Agus Prasetyo becomes a role and its impact in terms of the sustainability and development of the Sriwedari Wayang Orang. Habitus theory is used to examine Agus Prasetyo’s process as an actor. The text and context approaches are used to find factors that support Agus Prasetyo to be a role model. The data collection is carried out by using the methods of observation, literature studies and interview. The collected data is analyzed using a data analysis process that emphasizes interpretative descriptive. The analytical study finds that Agus Prasetyo’s process of becoming a wayang orang actor is obtained through an educational process in the family, school and environment. This analysis also reveals that Agus Prasetyo’s acting as a role is supported by his creative and improvisational abilities in applying tembung (words), tandang (work) and tembang (songs).

Cultural and Artistic Dialogues in Galicia in the Second Half of the 20th Century

The research aims to define the dialogical nature of culturaland artistic processes in the historical environment of late 20thcentury Galicia, and to determine a list of significant events, artistassociations, and personalities. The Research methodology is basedon the principles of combining the system approach with historicalprinciples, comparison, and synthesis. Historical and cultural, andformal-analytical, approaches with elements of comparative anddescriptive analysis are used.The mutual impact of policy and authorities on the artisticenvironment and education processes is analysed for the first time.The movement of individual artistic practices and artist unions asthe main factors shaping the artistic environment in Galicia in thesecond half of the 20th century is highlighted.We conclude that pressure from the communist totalitarianauthorities on the artistic community in Galicia, deportations,bullying, and isolation failed to destroy the structure of artisticdialogue. With changes in leadership and control vectors, cultural andartistic life searched for a unique form of expression, and Lviv (beinga centre of culture and education) played an important role in shapingmany new names that would later influence the environment. Afterthe collapse of the Soviet Union and the appearance of independentUkraine, the processes to rehabilitate artistic values, based onnational form and the dialogical form of the first third of the 20thcentury, took place. Artist unions and new galleries that appearedto cater to the needs of cultural and artistic life in Galicia becameinstrumental in developing new artistic ideas both in Ukraine andbeyond. Consideration of views and the importance of the creativityof individual artists and artist associations in cultural and artisticprocesses in late 20th century Galicia created the preconditions bywhich to determine the importance and patterns of social and politicalinfluences on the development of Ukrainian art in the 20th and 21stcenturies.