MUSEUMFICATION OF EVERYDAY LIFE: EVERYDAY LIFE AS A SPACE OF MEMORY OF A BYGONE AGE

The article is dedicated to the artistic and philosophical reflection on the everyday life of the communist era in the novel «The Museum of Unconditional Surrender» («Muzej bezuvjetne predaje», 1996) by Dubravka Ugrešić.The main attention is paid to the museumfication of elements of everyday life of the former Eastern bloc countries (SFRY, USSR in particular), i.e. transformation of material traces of the communist past into museum exhibits.After the fall of communist regimes in the Eastern bloc countries, and the disappearance of some of these states from the world map, entire layers of garbage and material remnants, including utilitarian objects accompanying the bygone everyday life, have remained. As long as the communist era has gone, the traces of its everyday life have acquired new meanings, associated with memory and nostalgia. These meanings define a new hypostasis of everyday objects: their hypostasis as museum exhibits.A world-famous Croatian writer Dubravka Ugrešić witnessed the formation and the breakup of Yugoslavia. In the novel«The Museum of Unconditional Surrender», written during her voluntary exile in Berlin, she depicts the museumfication of communist everyday life, revealing its new, metaphysical sense.The artistic world of the novel is organized within the metaphor of museum, which is emblematic for the postmodern philosophical and aethetical paradigm. The main action takes place in Berlin. Being a shelter for countless refugees and emigrants form the former socialist states, this city is seen as a total museum. Its dwellers repeatedly refer to themselves as to «walking museum exhibits». Thus, not only things, but also people get museumficated as remnants of a bygone era.The Museum of the Unconditional Surrender of the German Armed Forces, which gave the title to the novel, stands as a symbol of repressive mechanisms of the collective memory, promoting the coherent ideological metanarrative of the official history. Dubravka Ugrešić is aimed to deconstruct the museum as an ideological body, depicting some alternative storages of memory in the novel.First, it is the so-called «home museum» – a private collection of disordered photos and everyday things from the past. Besides, there are Berlin landfills and flea markets where things and people from the disappeared countries are found together. These alternative «museums» accumulate the uncoherent, subjective, heterogenic memory of the past. Such memory opposes the coherent metanarrative of a classic public museum.Looking through the different aspects of collective memory materialized in everyday objects, the article analyzes the relation between garbage and cultural memory, trivial objects and art, as well as the writer’s conception of museum.

EMPLOYING THE MATERIALS OF MUSEUMS OF THE WORLD FOR MASTERING VOCATIONAL VOCABULARY BY STUDENTS OF THE FACULTY OF THEORY AND HISTORY OF ART

Involving exhibits of the world-famous museums in studying professional vocabulary at the lessons of foreign language for art critics. This article researches the process of modernizing traditional teaching methods and teaching methodology in the current situation of changes in education system of Ukraine and new laws and reforms, issued recently. Due to the fact, that Ukraine have been integrating into European society, alterations involve evaluation and main principles of teaching in the universities of Ukraine. One of them is targeting at studying vocational vocabulary rather than general English. This generates the need for researching and finding the new ways for teaching the students of a certain faculty and certain specialization. In order to make lessons of foreign language contemporary and increase their effectiveness and studying results, the general ways of teaching should be adapted for the students of different professions. The particularities of the profession must be taken into consideration and the chain of new exercises must be developed. This will lead to the increase of motivation and will make studying process more various and topical. The article contributes in the developing of teaching methods for the students of art critic faculty. It is based on the practical work and practical study. The ideas, given in the article, have been put into practice, developed and improved during the practical lessons. One of the fundamental differences between professional direction and teaching general English is involving real professional situations in studying process. The novelty of the article is in the fact that as the profession of art criticism is quite rare, so far very little information could have been be found and very little research has been made. Practical exercises, considered in the article, involve the work with exhibits of the most prominent world museums and galleries. These ideas are based on the fact that a museum should be an expected place of work for the future art critic. Painting analysis is the most important skill, which should be acquired while studying. Direct work with the texts, attached to museum exhibits has been suggested, analysis of the rare exhibits from private collections has been offered in the article. Exercises, involving various types of memorizing material and developing such language skills as speaking, listening, information proceeding have been researched.

ILLUMINANCE DISTRIBUTION MEASUREMENT OF MUSEUM EXHIBITS USING DIGITAL IMAGING LUMINANCE METER

The method for estimating the illuminance distribution in the vertical plane of museum objects (paintings) using a digital imaging luminance meters (ILMD) is considered. In order to pass from the luminance distribution to the illuminance distribution, a screen with reflective properties close to diffuse (Lambert) reflection is used. The theoretical and experimental uncertainty estimation of the measurement method done.

Augmented Reality On Display: How might augmented reality technology be used to create meaningful interactive museum exhibits?

<p>The aim of this thesis is to explore augmented reality technology and the methods in which it can be applied to museum displays to enriching the experience of visitors. Artefacts within museums have rich histories which are not always apparent. This is due to the way artefacts are currently displayed and the way information is communicated in exhibitions. is project will set out design guidelines to inform the development of augmenting museum experiences. These guidelines will provide criteria and parameters for the use of augmented reality in museums, and will also be accessible to museum staff to create or enhance existing exhibits for visitors. The guidelines will be produced through a combination of different contextual research methods and will inform a final designed case study. These contextual research methods include: completing a practical exploration of augmented reality exhibits, reviewing museum practice and conducting a series of interviews directed at augmented reality experts. Once these guidelines are produced they will be tested using research through design and human centred design methods in a final case study. The findings of this thesis aim to emphasise how augmented reality is a tool for enhancing the communication of contextual history. It also forms the basis for further research into how augmented reality’s combination of virtual and physical worlds can broaden our experience of the museum space.</p>

Augmented Reality On Display: How might augmented reality technology be used to create meaningful interactive museum exhibits?

<p>The aim of this thesis is to explore augmented reality technology and the methods in which it can be applied to museum displays to enriching the experience of visitors. Artefacts within museums have rich histories which are not always apparent. This is due to the way artefacts are currently displayed and the way information is communicated in exhibitions. is project will set out design guidelines to inform the development of augmenting museum experiences. These guidelines will provide criteria and parameters for the use of augmented reality in museums, and will also be accessible to museum staff to create or enhance existing exhibits for visitors. The guidelines will be produced through a combination of different contextual research methods and will inform a final designed case study. These contextual research methods include: completing a practical exploration of augmented reality exhibits, reviewing museum practice and conducting a series of interviews directed at augmented reality experts. Once these guidelines are produced they will be tested using research through design and human centred design methods in a final case study. The findings of this thesis aim to emphasise how augmented reality is a tool for enhancing the communication of contextual history. It also forms the basis for further research into how augmented reality’s combination of virtual and physical worlds can broaden our experience of the museum space.</p>

The Boundaries of Funniness and the Dilution of Audience Identity in the Musical-Dramatic Art

This paper sets out to examine the transformation of comedy in the history of European theatre. Musical performance extends the semiotic space of the original genre into a field of fluid and open meanings and signs incorporating and suggesting many interpretations, some of which are ironic. It is argued in contemporary aesthetics that, on the one hand, art cannot exist without a discourse interpreting it, while on the other, there exists the demand to avoid interpretation, which at once legitimizes the aesthetic effect and castrates the object of art. Provocation is used as an instrument for solving the problems of observing the object of art in a new way and understanding modern reality, and provocation is not complete without irony and self-irony. Wit, irony, and comicality are transformed as fitting into the style of the absurd and deconstructing the border between the funny and the serious. The purpose of such provocations is to put the viewer into a position of uncertainty and aesthetic shock, and this stupor inexorably leads the beholder to encounter the object of art and nurtures a new understanding of their own self. This clash of the spectator’s viewpoint created by provocative shows dispossesses theatre productions of the status of “museum exhibits”. This paper will examine the organicness of elements of the laughter culture and comic devices for musical and dramatic theatre.

CREATING A 3D MODEL OF OBJECTS USING TWO CAMERAS

Over the past 20 years, 3D (three-dimensional) technology has become widespread as an advanced method for creating digital models of objects. This direction of science is used not only in the technical and space fields, but in the storage and protection of pharmaceuticals, museum exhibits and other cultural values in the form of digital data. Currently, the method based on laser scanning is of particular importance for obtaining accurate images among wide-sector methods for constructing digital models of objects. Although the limited application of the method is associated with financial and economic problems, the accuracy of data, the creation of artificial objects, characters using various editors and programs, their animation, as well as harmony with real objects and interiors have become key factors in the spread of this technology. The article analyzes the process of obtaining a three-dimensional image of a model using two cameras using three-dimensional graphics editors. Keywords: 3D technology, digital model, graphic representation, Monge method, modeling.

Project activity and historical reconstruction as a means of moral and patriotic education of preschool children

К средствам патриотического воспитания ученые относят родной язык, историю, родную природу, культурно-духовное наследие, представленное музейными экспонатами. В осуществлении патриотического воспитания средствами музейной педагогики, необходимо единство государства и семьи. Характерными чертами музееведения, считает ученый, является неформальность (способность создать атмосферу доверия), демократичность, наглядность, коммуникативность (проведение музейных уроков), интерактивность (создание взаимодействия между учителем и учениками и между самими учениками), эмоциональность (патриотическое воспитание невозможно без чувств формирование чувства гордости за свою Родину). Итак, мы соглашаемся с позицией ученых, что среди ценностей русской национальной культуры, необходимых для осуществления патриотического воспитания учащихся начальной школы, важное место занимает музееведение, которое способно влиять на духовный мир человека на уровне подсознания, эмоционального постижения, интуиции. Музей как центр духовного образовательного обогащения детей расширяет его педагогические возможности, способствует взаимопониманию разных поколений и профессий, привлекает детей к вечным духовным ценностям, углубляет патриотические чувства. Музейная деятельность направлена на формирование патриотизма, чувства принадлежности индивида к обществу, а формы и методы музейной педагогики стимулируют эмоционально-волевую сферу учащихся начальной школы и способствуют достижению основной цели патриотического воспитания. Scientists refer to the means of patriotic education as the native language, history, native nature, cultural and spiritual heritage represented by museum exhibits. In the implementation of patriotic education by means of museum pedagogy, the unity of the state and the family is necessary. According to the scientist, the characteristic features of museology are informality (the ability to create an atmosphere of trust), democracy, visibility, communication (conducting museum lessons), interactivity (creating interaction between teachers and students and between students themselves), emotionality (patriotic education is impossible without feelings, the formation of a sense of pride for one's Homeland). So, we agree with the position of scientists that among the values of Russian national culture necessary for the implementation of patriotic education of primary school students, an important place is occupied by museum studies, which can influence the spiritual world of a person at the level of subconsciousness, emotional comprehension, intuition. The museum as a center of spiritual educational enrichment of children expands its pedagogical capabilities, promotes mutual understanding of different generations and professions, attracts children to eternal spiritual values, deepens patriotic feelings. Museum activity is aimed at the formation of patriotism, a sense of belonging of an individual to society, and the forms and methods of museum pedagogy stimulate the emotional and volitional sphere of primary school students and contribute to the achievement of the main goal of patriotic education.