Creative Experience Research Articles

Machinery Changes and Challenges of Architecture and Landscape Design in the Virtual Reality Perspective

With the in-depth study of architectural planning in China, more and more designers and developers are aware of the superiority of the use of technological robots to improve the speed and quality of construction, weakening past experience and based on real-world research through modern technology. However, the application of this method in the predesign work is not mature. To be specific, designers may lack expertise due to the overly detailed division of labor. In addition, the developer’s blind pursuit of profitability leads to inaccurate market positioning and forecasting. At the same time, the lack of effective communication between designers and developers, architects and owners makes the predesign work ineffective and does not provide reasonable and accurate guidance for the building design. Therefore, the predesign work requires the designer to analyze and select the site reasonably. In addition, it is necessary to conduct in-depth research on the target customers. At the same time, it is necessary to accurately position and predict the dynamic market, and then to have a thorough understanding of the norms and regulations. As a result, the predesign work enables the design to be analyzed in the context of the actual situation. Then, according to the data and information from various aspects, effective planning and argumentation are carried out, and corresponding decisions are made to provide guidance for the design. Overall, predesign is a process of rational planning of the design process. In fact, in the process of landscape design innovation, it is necessary to fully consider the requirements of the intelligent era. Therefore, multimedia and advanced robotics can continuously enhance the interaction and experience of urban landscape to make it integrate into the intelligent system of the future city. In other words, multimedia technology can enhance the new image of the city in an intelligent, digital, and humanized interactive experience. Especially in the landscape design process, the advent of computers has enabled landscape designers to use relevant design software to design their own works, thus giving them unlimited design possibilities. Virtual reality technology, as a form of computer technology, provides designers with a new creative experience in the design phase of a landscape project. To be specific, this technology allows designers to freely grasp the design space and scientifically compare the differences between design options to make the design more reasonable and complete. Therefore, this paper analyzes the differences in the general environment and concepts of 3D software virtual reality technology, starting from the characteristics of the application of 3D technology as an entry point. At the same time, this study uses the similarities and differences in technology to discover the vital role of using virtual reality technology to reconstruct the space and the impact of robots on modern architecture.

Cultural stories: Curriculum design learnings from an arts-based Australian university project in Timor-Leste

This paper investigates the preparation of Australian undergraduate university arts students for a life challenging arts-teaching and creative experience in Timor-Leste. It explores university teaching practice and how we may achieve better student experiences in preparation for their futures as teaching artists. This narrative inquiry research hears the voices of the students through their individual, personal stories. The emerging teaching artists articulate challenges, identify shifts in beliefs and values, and confirm skills that are transferable to cultural arts teaching contexts in the future. In all, the research has resulted in 46 recommendations, some minor, and some requiring more significant structural changes that affect course delivery. For the purposes of this paper, we reflect on and discuss three of the major findings and recommendations in the pedagogical, cultural, and artistic areas of the project implementation. As such, this paper represents a reflective analysis of some of the findings regarding curriculum design within this project.

Art “talismans” of Kharkiv: symbols and thoughts. In memory of Tetyana Vyerkina and Volodymyr Ptushkin

Statement of the problem. In 2022, Kharkiv I. P. Kotlyarevsky National University of Arts celebrates the 105th anniversary of its foundation and, despite the difficult conditions of wartime, it honours the memory of its outstanding artists – T. Vyerkina and V. Ptushkin. Continuing the national tradition, their creative legacy is a remarkable achievement of Ukrainian musical art. The creative experience of these prominent artists reveals the ways for the further successful development of the University and the domestic musical art, and its comprehending becomes one of the urgent research tasks. Recent research and publications. The life and creativity of T. Vyerkina and V. Ptushkin were reflected in the modern musicology studies (portrait-book “Tetiana Vierkina: to Change the World by Art”, 2016; Shubina, 2019; Verbitska-Shokot, 2007; Drach, 2009; Bondarenko, 2014; Derkach, 2015; Krichenkova, 2015; Sediuk, 2017; Savchenko, 2018; Kuzmina, 2019; Nikolaievska, 2020). In the context of the article the linguistic-cultural and musicological works on the theory of symbols and concepts were important (Svyrydov, 2011; Dmytrenko, 2015; Gazheva, 2021; Nikolaievska & Shapovalova, 2021). In connection with T. Vyerkina’s and V. Ptushkin’s creativity the symbolism of the concept as “talisman” was not considered. Objectives, methods, novelty of the research. The purpose of the study is to consider the individual contribution of People’s Artists of Ukraine, Professors T. Vyerkina and V. Ptushkin, to the development of creative traditions of Kharkiv I. P. Kotlyarevsky National University of Arts. The proposed cultural-epistemological approach, based on existential reflection, is innovative in the disclosure of the topic, which makes it possible to see the “concentric circles” of the influence of an artistic personality in the spatial and temporal coordinate system of culture. Metaphorically likening such an influence to the action of a “talisman”, we fill this concept with a symbolic meaning. Research results. A compositional-dramaturgical, genre-style and performing-interpretative analysis of V. Ptushkin’s romance “Talisman”, which was constantly performed by T. Vyerkina in a duet with the composer, is presented; her performance of the vocal part became “exemplary” from the composer’s viewpoint, which allowed this musical piece to “inherit” the status of a kind of stage talisman for both artists. The circles of influence of the concept-symbol “talisman” have been revealed: in art, at various levels, artists themselves, their works, ideas, , principles, schools, performance versions, i.e., that creative energy, which according to the model of concentric circles covers different layers of cultural life, often become “talismans”. The interpretation of the creative work by T. Vyerkina and V. Ptushkin, presented in the article, reveals the significance of the pedagogical activity of artists as “teachers-talismans”, bearers of the achievements of the “school”, and reveals the symbolism of the “talisman” metaphor in the “composer – performer – listener” system. So, not every student manages to find “his” teacher, that is, one with whom a special internal “energy-informational” connection is established, however, if this search becomes successful, then a “talisman symbol” appears, the function of which is performed by the teacher and his school. Talent, creative energy, charisma, professionalism contribute to the appearance of such a “teacher-talisman”. In the same way, the performer may or may not become a kind of “talisman” for the composer to attract listeners to him. The idea of “actual performing intoning” (T.Vyerkina) and personal characteristic composer’s intonation (V. Ptushkin) were tested on the concert stage, demonstrating the unity of theory and practice. The role of the festival “Kharkiv Assemblies”, founded by T. Vyerkina, and the history of the development of the University of Arts – a kind of “talismans” of the city – are also interpreted in a symbolic way. At the centre of the Festival, which took place within the walls of the University, has always been a Human as a creative personality, and this theme covers different eras. Popularization of the Ukrainian art, in particular works by Kharkiv composers, for which T. Vyerkina often was became the first interpreter, was one of the dominant festival strategies. So, the musical composition appears as a meta-message from the Past through the Present to the Future, and this makes art able to model new strategies of cultural development. Conclusion. The comprehension of the traditions of the Alma Mater and the ways of their continuity in the system of “resonant connections”, which is based on the phenomenon of the university as a centre of knowledge, and the grateful memory of Kharkiv artists open up an inexhaustible prospect of further researching the “concentric circles” of their influence on the development of domestic musical art.

Performing Artists and Anomalous Experiences

Objective: To evaluate the relations of anomalous experiences with five overexcitabilities, cumulative trauma exposure, and Beyond the Personal creative process, with samples of performing artists, athletes, and control participants. Method: This is a cross-sectional study (N = 454) in which participants were administered in one session five self-report instruments to assess the five overexcitability dimensions, past childhood adversity and trauma events, creative experiences, and anomalous experiences. Analyses included inter-instrument and intergroup analyses, with a regression analysis that focused only on performing artists (n = 248), and a moderation analysis to determine a moderating effect of cumulative trauma on other variables. Results: Results showed that, compared to athletes and controls, performing artists had greater overexcitabilities, higher Beyond the Personal creative experiences, and more anomalous experiences, but no differences in cumulative trauma. Imaginational overexcitability, cumulative trauma, Beyond the Personal creative experience, and emotional overexcitability explained 32% of the variance in anomalous experiences in the performing artists group. The moderation analysis did not reach significance. Conclusion: The findings in this study suggest that a desire to create works that expand Beyond the Personal, coupled with elevated overexcitability factors, relate to greater sensitivity and awareness of novel and unusual experiences, including anomalous experiences.

Serendipitous collective creativity at family making programs in public libraries

Collective creativity is increasingly being emphasized, yet there is less focus on serendipitous or accidental collective creativity. Understanding serendipitous collective creativity can bring implications for unexplored ways to facilitate collective creativity in learning settings. This paper reports a video-based study that investigates how moments of serendipitous collective creativity emerge and influence families’ creative experience in informal making programs at public libraries. Twenty-four parent-child pairs’ interaction and creative products are analyzed through interaction analysis and novelty assessment. Our study demonstrates showcasing and providing feedback as two social mechanisms that facilitated moments of serendipitous collective creativity, which influenced families to adopt, expand, and solidify the serendipitous idea. The study brings implications to library professionals who provide educational programming to children and family patrons to reconsider the role of participating families at library making programs as not just patrons but community members with shared ownership to facilitate creative process of one another.

An Extended AI-Experience: Industry 5.0 in Creative Product Innovation.

Creativity plays a significant role in competitive product ideation. With the increasing emergence of Virtual Reality (VR) and Artificial Intelligence (AI) technologies, the link between such technologies and product ideation is explored in this research to assist and augment creative scenarios in the engineering field. A bibliographic analysis is performed to review relevant fields and their relationships. This is followed by a review of current challenges in group ideation and state-of-the-art technologies with the aim of addressing them in this study. This knowledge is applied to the transformation of current ideation scenarios into a virtual environment using AI. The aim is to augment designers' creative experiences, a core value of Industry 5.0 that focuses on human-centricity, social and ecological benefits. For the first time, this research reclaims brainstorming as a challenging and inspiring activity where participants are fully engaged through a combination of AI and VR technologies. This activity is enhanced through three key areas: facilitation, stimulation, and immersion. These areas are integrated through intelligent team moderation, enhanced communication techniques, and access to multi-sensory stimuli during the collaborative creative process, therefore providing a platform for future research into Industry 5.0 and smart product development.

Creative urban place

PurposeThe concept of a creative place has been considered by experts, but a review of the research background shows that the definitions provided for creative place are different, and the factors that make an urban space a creative place are not clear. The main purpose of this study is to investigate the concept of creative place and to extract the indicators that make an urban space considered a creative place.Design/methodology/approachBy extensive library studies and using a specialized panel, 59 items in the form of 12 indicators were extracted as identifiers of a creative place and a researcher-made questionnaire was prepared and tested in a case study. Data analysis of this study was performed in two stages by using the factor analysis method in R software.FindingsThe factors of “competitive advantage (economically)”, “freedom”, “attractiveness”, “entrepreneurship and professionalism”, “culture and art”, “vitality”, “diversity”, “distinction”, “participation”, “reconstruction, nobility and infrastructure”, “meaning” and “creative experiences” are important as identifiers of creative place, respectively. The evaluation of the case study showed that the total score of creative places in this urban space is 69.6 (out of 100) and “meaning” gained the most point in this urban space.Originality/valueThe factors of this research can be provided to architects and urban planners as identifiers of a creative place and a case study can be evaluated in terms of the degree of compliance with creative place identifiers.

Exploration of the Relationship Between Culture and Experience of Creativity at the Individual Level: A Case Study Based on Two Design Tasks

ABSTRACT Extensive research has focused on the relationship between culture and creativity. However, related studies typically adopt national cultural values, set countries as independent variables to explore the relationship between culture and individuals’ creativity, or have inconsistent conclusions. Therefore, this study attempted to explore this relationship at the individual level in design processes from a phenomenological perspective, based on two design tasks carried out by 27 students at a university in China. The results showed a positive association between pleasure and long-term versus short-term orientation of individual cultural values in the two creative methods – 6-3-5 and collaborative sketching (C-sketch) – which were statistically significant. However, the correlation between enlightenment and long-term versus short-term orientation only existed in the 6-3-5 method. Based on the analysis, we found that an individual’s educational level affected their self-evaluation in the experience of creativity, and the 6-3-5 method was more favorable than the C-sketch method for the participants. Moreover, we developed a visualization framework and explained the relationship between culture and creativity based on the componential theory of creativity and Hofstede’s culture theory. Furthermore, the study might serve as a groundwork for further examination of the relationship between individuals’ culture and their experience of creativity.

Creative Tourism Consumption: Framing the Creative Habitus through a Bourdieusian Lens

Creative tourism studies remain a newly developed field, pointing to changes in the consumption of tourism and culture while influencing how creativity and co-creation differentiate tourism supply through exploring the existential dimensions of creative experiences, the latter remaining an under-researched theme in the creative tourism literature. In addition, this type of tourism is presented as more responsible and sustainable than other types of massified forms of tourism. Building on a Bourdieusian approach, an updated version of Bourdieu’s main sociological thinking tools was used to analyse the creative habitus of both the supply and demand involved in the co-creation of creative tourism experiences. The authors developed 42 semi-structured interviews with creatives and creative tourists using the Loulé Criativo network in Portugal as a case study and applied qualitative techniques for the data treatment. The results showed that the creative habitus could move successfully between fields, expressing a sustainable agency towards creative tourism consumption. Autodidactism is important for skill development and knowledge replication resulting from the co-creation of creative experiences. The creative habitus, endowed with intercultural and creative capital, is characterized by self-education and ecological awareness where co-creation and coexistence with other creative people enhance the development and replication of creative competencies outside the tourism field.

Shrinking the Size of the State with One Choreography Collaboration at a Time!

Since 2016, New Jersey dance educators have requested more opportunities to collaborate beyond professional development workshops hosted by Dance New Jersey (DNJ) resulting in a question: How can DNJ support more collaboration among its members? While exploring ideas and imagining possibilities, the executive director at the time, Cristina Marte, discovered Video Collaboratory, a web-based, private application designed for group collaboration around video documents. With this tangible option, she constructed a pilot program enlisting two high school dance programs from different parts of the state to engage in the process of dance making, sharing, and communicating through a virtual platform. The intent of the collaboration during the student feedback process was to provide students with additional support from distant “choreography pals” to enhance the creative experience. The successes of the project revealed the advantages of unforeseen collaborations, the possibilities in technology, and the enhancement in the creative feedback process.

AI.R Taletorium: Artificial Intelligence 1001 Cyber Nights

AI.R Taletorium is an artificial intelligence-based collaborative learning environment based on Human-AI co-creation and social relationship development between users. AI.R Taletorium is designed to achieve a common creative experience between groups of users with different preferences, not necessarily at the same location. The system is built upon a character-centric interactive storytelling framework. AI follows users’ characteristics to transfer participants into the AI-generated story environment via avatars. Additionally, the multimodal interface helps users participate in the story creation and stimulate their perceptive and emotional engagement. In the 1001 Cyber Nights series of AI-created fairy tales, our focus is on the neural-network-based automated storytelling part of the AI.R Taletorium project. We are inspired by the 1001 Middle Eastern folk tales collection and Scheherazade, who fought for her life by telling stories for 1001 nights. We are using our AI.R Taletorium automated storytelling system to challenge AI creativity and imagination in creating fairy tales for children. As in the story of Scheherazade, we see this as a paradigm of AI’s creative effort toward its further emancipation.

Why and When Narcissistic Employees Are More Creative in the Workplace? A Social Cognitive Perspective

ABSTRACTThe question of whether narcissists are more creative than peers has attracted much scholarly attention in both psychology and organizational management sciences. Drawing from social cognitive theory, we theorized that the relationship between narcissism and creativity could be explained by individual creative self-efficacy, which depends on one's direct and vicarious experiences of creativity. Drawing from trait activation theory, we further proposed organizational valuing of creativity as a key contextual moderator that determines whether narcissism facilitates or inhibits creative self-efficacy and, in turn, creativity. We suggest that high organizational valuing of creativity will energize narcissists to put their attention and effort into both direct and vicarious experiences of creativity, enhancing their creative self-efficacy and creativity. We tested our conceptual model through a field study with data collected from 269 full-time employees working in 86 work teams. The empirical results provided support for the social cognitive explanation for the positive relationship between narcissism and creativity in the context of high organizational valuing of creativity. Our study not only resolved prior debates on the relationship between narcissism and creativity but also provided direct empirical support for social cognitive theory and the person-in-context interactionist perspective of creativity research.

CONDUCTING AND EDUCATIONAL WORK OF YEVHEN VAKHNIAK AT M. V. LYSENKO STATE CONSERVATORY OF LVIV

This article is devoted to the creative work of the famous conductor, teacher and composer Yevhen Vakhniak (1912–1998) which had a significant impact on the evolution of Ukrainian choral art. The purpose of this article is to focus the attention on long years conducting and educational work of Ye. Vakhniak at M. V. Lysenko State Conservatory of Lviv (now named M. V. Lysenko National Academy of Music of Lviv). We have analyzed the creative work of the conductor as head of men’s choir “Homin”, the choir of the opera studio, the student’s choir of the conservatory. We have identified artistic and worldview principles, repertoire priorities, features of conducting and performing style and educational approaches of the artist. We have briefly described his educational and methodological and compositional heritage. We provide the list of his most famous students and followers. During forty years of his creative work at M. V. Lysenko State Conservatory of Lviv, Ye. Vakhniak showed himself as practical choirmaster, conductor pedagogue, teacher trainer, arranger, and composer. The choirmaster practical activity of the conductor proved his professional universalism, maturity, and meaningfulness of his individual artistic style, as well as his inclination to creative experiments and integration of innovative methods of work. The wide range of the conducting repertoire of the artist included many monographic concert programs, the priority was given to the choir music of Ukrainian composers and to the ecclesiastic pieces of Western European authors. Ye. Vakhniak was a very good interpreter and proactive promoter of choral pieces by Galician composers. His artistic and pedagogical principles were based on the principles of Christian morality and had expressive signs of quiet non-conformism in relation to the social order of that time. Ye. Vakhniak didn’t accept and never applied authoritarian methods of work. The key to his success was great erudition, professional competency, personal commitment, and sociability. Ye. Vakhniak’s knowledge and creative experience are recorded in his monograph, articles, educational and methodical manuals and textbooks, music prints, phonograms, press publications. Large number of students and choir performers who later became successful professional musicians testify about high efficiency of Ye. Vakhniak as high school pedagogue, and the composer activity of the artist harmoniously complements the image of his universal creative personality of the Renaissance type.

Podpora důvěry ve vlastní tvůrčí potenciál jako důležitá součást profesní přípravy učitelů výtvarné výchovy v preprimárním a primárním vzdělávání

The paper interprets the conclusions of selected research focused on the quality of Art Education and points out the possibilities of how these findings can be used retrospectively in the undergraduate training of future kindergarten and primary school teachers. The text also discusses the negative phenomena occurring in the practice of Art Education, drawing attention mainly to the reproduction and imitation of formal outputs of art activities. Therefore, it offers activated methods as a functional alternative. Their promotion combines with the support of confidence in the teacher's pedagogical potential and creative experience.

Transformation of scientific paradigms in social practice

The article dedicated to the 100th anniversary of the birth of Academician of the Russian Academy of Sciences Vladimir Nikolaevich Kudryavtsev provides a brief analysis of his creative experience in Criminal Law, criminology and legal conflictology, reveals the theoretical and practical significance of the author’s works, which in many ways have become the theoretical basis for new areas of research in jurisprudence; the transformation of scientific ideas developed by the scientist into social practice is shown, in particular into criminal legislation, law enforcement and criminological measures to prevent crime, resolve conflicts by legal means.

Russian Philosophical and Cultural Studies as Expert Knowledge: Concept, Practice, Institute

The article substantiates the interdisciplinary synthesis of philosophy and cultural studies in a wide field of Russian studies. This paper presents the author’s approach to the study in philosophy of Russian culture, history and art as a constellation of creative experience in Russia’s intellectual and social history. The article proves both the need to develop new methodological approaches to the study of the cultural heritage of Russia and institutional (organizational) research models in this subject area. The fulfillment of these conditions is designed to ensure, on the one hand, the growth of new knowledge, on the other hand, to ensure the continuity of intellectual, artistic, spiritual traditions in the process of deep transformations of Russian society, which is being rebuilt to a new technological and socio-cultural way of life. The author defines the conceptual core of the institutionalization project of Russian philosophical and cultural studies in the university system, and also shows some practical forms of its implementation on the example of the HSE University. The project developer draws a conclusion about the expert role of modern humanities, designed at a high level of philosophical and cultural reflection to assess both the creative, social and ethical potential of Russia’s cultural traditions and new cultural practices, including its diverse digital and media forms. Expert knowledge in this system of social and intellectual communications is a mediating link between the cultural experience of the past, its ideal-value content and modern practices, and it provides a procedure for capitalizing heritage as well as cultural self-identification of a person and society.

Эпос «Манас» в инкультурации современной молодежи

This article analyzes the significance of the epic «Manas» in the historical heritage of the Kyrgyz people, as well as its status and role in the modern cultural space of the republic. The significance of the epic «Manas» is defined as a core of traditional kyrgyz culture and one of the main institutions of modern artistic culture. Examines creative experiences in the interpretation of epic images embodied in the Kyrgyz fine art of the twentieth century (Theodore Gertsen, Taalai Kurmanov, Turgunbai Sadykov). The problem of inculturation of young generation through the use of epic heritage is raised. We are talking about multi-dimensional use of the rich content of artistic images of the epos in different spheres of culture and purposeful inclusion of the young generation of different ages to the system of fundamental values contained in them. In addition, the question is raised about the need to create modern professional art works based on the epos on a solid literary basis, on the basis of serious drama and a deep reading of the images and precepts of the ancestors, accumulated in the great poetic heritage of the Kyrgyz people.

WITH UKRAINE IN HIS HEART. IN MEMORY OF PEOPLE’S ARTIST OF UKRAINE, PROFESSOR BOHDAN BAZYLYKUT (TO THE 85TH BIRTHDAY ANNIVERSARY)

The future opera singer Bohdan Basylykut, People’s Artist of Ukraine, professor was born and raised in 1938 in the Ternopil region, in a family of simple laborers. He passed away after a long illness in 2020 in the city of Lviv. B. Basylykut sang in the school choir, mastered musical literacy on his own and learned to play the trumpet. At first, the future artist chose the profession of a school teacher. Although in 1955, he entered the philological faculty of the Lviv State Pedagogical Institute for two specialties at once: “teacher of Ukrainian language and literature” and “teacher of music and singing”. Over time, the love of singing prevailed. After graduating from the Institute, B. Basylykut worked here as a vocal teacher, but continued to improve his performing skills the former soloist of the Kharkiv and Kyiv Opera Theaters Mykhailo Kopnin, a student of the famous spanish tenor Carlos Barrera. It was he who taught B. Basylykut a conscious approach to vocals, encouraged intensive collection and study of methodical literature on the subject, and, most importantly, revealed the secrets of correct, professional singing of the famous “bel canto”. Even in his first student years, the young singer took an active part in various concerts and festivals sang on the radio, on television, the first favorable reviews of the press appeared. Soon the young singer improved his vocal and acting skills at the evening department of the Lviv State Conservatory named after M. V. Lysenko in the class of Mykola Shelyuzhka. November 1969, B. Basylykut became the laureate of the first prize of the republican youth festival. The late 1960s and early 1970s, the young singer toured for the first time in Ukraine, later in Belgium, Bulgaria, and Cuba. Since 1971, the young singer has been a soloist of the Lviv Academic Theater of Opera and Ballet named after I. Franko (now Lviv National Opera and Ballet Theater named after S. Krushelnytska). B. Basylykut’s creative works included all the leading parts of the classical Western European and Ukrainian opera repertoire. Since the end of the 1970s, B. Basylykut has been performing in many solemn concerts in Kyiv, he has toured a lot – in Austria, Belgium, Denmark, Estonia, Lithuania, Latvia, Poland, Hungary, Yugoslavia. And no matter which country the singer goes to, he always sings arias from national operas or folk songs in the original language. Over time, a considerable repertoire accumulated, and the singer prepared for recording 15 folk songs in the original language of each union republic. The unusual repertoire attracted the interest of the Melodiya record company, and in 1979 it released an album with recordings of this program performed by B. Basylykut. At the dawn of the Ukrainian Renaissance, in 1991, the first Ukrainian audio cassette with the recordings of the honored artist B. Bazylykut, “Christ was born! Christmas carols”. Three years later, listeners received another audio cassette, “Striletskyi songs by R. Kupchinsky”. Separate page of the artistic life of the singer and the students of his class was the annual preparation of thematic concerts from vocal works to poetic texts by T. Shevchenko. The beginning of the XXI century. Lviv regional television recorded three festive concerts from the cycle “To a wreath to Kobzar”. Recent years, not only students have participated in such annual march concerts, but also many graduates of previous years have gathered. From 1999 to 2020, People’s Artist of Ukraine, Professor B. Basylykut worked at the faculty of culture and arts of the Lviv national University named after Ivan Franko. For teachers, students and all those interested in Ukrainian song, the professor organized repertoire collections: “Ukrainian and romances from the repertoire of Bohdan Basylykut”, “Textbook of vocal works for bass”, “Ukrainian folk songs for mezzo-soprano”, “Lyrical songs of Ukrainian composers”. The professor’s personal creative experience was a thorough basis for inculcating young people with professional skills and a wide range of skills. Today, the students of the professor’s class work fruitfully as vocal teachers, passing on the traditions of the class and the professional instructions of their unforgettable teacher. They also successfully work in the creative field, sing on domestic and foreign opera stages. Therefore, the multifaceted gift of the people’s artist of Ukraine, Professor B. Basylykut, formed an exceptionally successful, fruitful creative activity in various aspects: performing, pedagogical and scientific, and it is very difficult to determine which aspect was the leading one. The Maestro spent his life and creative career as a talented singer, an outstanding teacher, a citizen and a sincere patriot of Ukraine.

Applications and Implications of Service Robots in Hospitality Sector: A Case Study

Purpose–Previous research has emphasized that service robots cause radically change current service production and delivery practices and, consequently, service management and marketing strategies. This research explores the use of current state-of-the-art service robotics in the hospitality industry and aims to better understand how this technology can transform service operations. Design/Methodology/Approach–An exploratory qualitative approach was adopted for this study. Case study pattern and holistic single case pattern were preferred from qualitative research patterns as the method of inquiry. This qualitative study was conducted using a thematic analysis approach.The criterion sampling method was performed to collect data with one participant through in-depth, semi-structured individual interview. Data were analyzed using a thematic approach that built on a priori themes or categories were adopted for data analysis. Findings –Analysis of participant’s perspectives and experiences showed the 8 themes of the roles of service robotics in service encounters including substitute, support, supporting new business models, improve, differentiate, creative experiences & competition, upskill, and data collection. Unlike the previous research, supporting new business models, creative experiences & competition, and data collection were also found as new technology roles specific to service robots. By developing a new conceptual DRiTE Model (Development of Robotics in Tourism Ecosystem), the research not only contributes theoretical implications to the literature but also offers business strategies (management, marketing, etc.) for hospitality firms to manage innovative, automated service offerings. Discussion –Despite previous research having extensively discussed the use of technology in services, it can be interpreted that the current global tourism industry on the use of robotics in service encounters is still in its infancy. Over time, these micro-scale changes will evolve to form a global ecosystem. This means that the way they do business will change on a global scale through various diffusion areas such as brand, service type or stakeholder network. The paper’s novelty and uniqueness lie in suggesting a new conceptual DRiTE of addressing the implications ofthis research and offering insight for hospitality services-related managers into how to effectively research implications can be implemented.

MUSICAL EKPHRASIS IN THE SERBIAN NOVEL OF THE LATE 20TH – EARLY 21ST CENTURY (THE EXPERIENCE OF A. GATALICA, M. PAVIĆ, G. PETROVIĆ AND G. ĆIRJANIĆ)

The multifaceted interrelationships of the various media are now considered to be a particular productive area of comparative strategy. The generalised typology among the types of intermedia at the present stage is considered to be the most fruitful and effective, in particular, ekphrasis and intermedia – a particular manifestation of intermedia, the phenomenon of specific expressive mediation of one media in the figurative field of another. Intermediate format, developed by the interaction of different sign systems and the content encoded by them, mainly – literature and other arts with emphasis on the sign and semantic correspondence of comparisons, has significant artistic effectiveness. A way to realise the ekphrasis of the reception as a description of the case is any kind of art in the literary text. At the same time, the preferred determinant of ekphrasis as a description of a work of art in a literary text is suggested to be its relation to a specific work of authorship, although it also assumes the spread of the ekphrasis to similar or non-existent but genre conventional art variants with a pre-eminent inheritance of the corresponding art. In determining the universal common principles of organising such sovereignty of sign systems, positioned in the status of local variants of different discursive practices in the process of their syncretic interaction in the literary dimension, effective for illuminating the raised issue are primarily the tendencies of the extracurricular direction of literary criticism, initiated by Lotman's semiotic concept, initiated by the first concept, the imposition and intersection of semantic spaces capable of generating new meaning. The empirical plan of ekphrasis is vividly and convincingly actualised in the novels of famous Serbian writers A. Gatalica, M. Pavić, G. Petrović, G. Ćirjanić. Innovative creative experience of artists testifies to a special sophistication, content, accuracy of design and diversity and comprehensibility of meaningful potential, which brings the manifestations of the poetics of syncretism of arts to the organisational components of the poetics of novels in general.