Virtual Reality Technology in Visual Design of Artistic Images: Analysis and Applications

Within a few decades of development, Internet is been refreshing the world’s awareness of its development and potentials at an unexpected speed. In recent years, virtual reality technology has begun to be applied to more and more fields. Especially in instant transmission of information, the applications of VR are incomparable. Akin to the wide-ranged advantages of the technology in education and health, the applications of VR in the art of artistic image designing need to be addressed. With this research work, a comprehensive study is presented about the applications of virtual reality in the art of image visualization. The research intends to analyze the possibility of intermingling modern image visualization with the emerging VR technology. Following a systematic approach, the history and development of display design are reviewed besides studying the artistry techniques used in the technology of art image visualization design. The interdisciplinary association of the two fields is explored with the help of relevant algorithms. The model proposed in the paper for the design of art image is based on the visual interactive process, rigorous assembly sequence, and appropriate equipment mode. As a result, the whole design process is more controllable and feasible. The suggested design concept is verified dynamically. Through the collection and comparison of feedback information, the hypothesis algorithm of the model is updated to accommodate the dynamic information so that to reflect the complete image design process. To assess performance of the model, evaluation was conducted from various perspectives. The three basic image operations such as illumination change, occlusion change, and color change were performed by using the two technologies such as the traditional image design and VR-based image design. From the comparison of experimental data, it was revealed that the effects of traditional art image visualization products produced by the art image visualization and that of VR technology are quite different. For instance, the visualization score achieved for the lighting change operation using the VR technology was 95.48%, whereas 85.57% was obtained for the same operation using the traditional image design technology. Similarly, while adding visual effects using the VR technology, an average of 9% higher score was obtained for the said image operations. The promising results attained for the VR-based design testify that the technology is feasible and suitable to be intermingled with the visual design of art image. As a whole, the findings justify that the proposed approach is quite applicable in visual design of art image systems. In view of the significance of the research, the study can be extended to related domains of computer-based designing and visualization as well.

Modern Dance as an American Alternative to Classical Ballet

The choreographic art of the United States developed in a new direction and was looking for new forms corresponding to the trends of the modern era in many ways. By the beginning of the 20th century, the classical ballet of the USA rooted in Russian choreographic culture had experienced the lack of the means of expression that could reflect a new range of themes, images, philosophical and artistic concepts that had developed by that time and required a new dance style, genres, aesthetics. Modern dance emerged along with the development of the national political and artistic and creative self-consciousness of Americans in general, during the development of national musical, choreographic, and poetic traditions by cultural figures, who searched for their path in art. The study analyses the features of American modern dance. The artistic and aesthetic principles of modern dance are identified and the historical and cultural prerequisites for the development of the national choreographic school of the United States are revealed. The study uses theoretical methods such as visual and textual analysis of choreographic performances and music for performances, comparison of means of plastic expression, movements and figures of classical ballet and modern dance, principles of stage development of artistic images of performances. The empirical study is based on the generalisation of the practical experience of staging performances by leading American dancers of the 20th century. As a result, it is noted that the features of modern dance are completely different to those of the United States classical ballet, testifying to the desire of Americans to reflect the problems of modernity and convey the unique national character of the United States culture by using elements of African or Indian dances, as well as movements that are not characteristic of classical ballet but reflect the spirit of modernity. The materials of the study are of theoretical and practical value for specialists who work with the problems of culture and art of the 20th century, including modern choreography.

Men's academic performance 1950-1970s (on the example of creative activities of N. Apukhtin, A. Belov and G. Baukin)

The purpose of the article is to study artistic processes among ballet performers in the 1950s – 1970s on the example of the creative activity of Nikolai Apukhtin, Anatoly Belov, and Gennady Baukin. The methodology of the work includes the use of the following research methods: general historical, comparative, analytical, dialectical, systemic, etc. The scientific novelty of the publication lies in the fact that it first explored the professional culture in the field of male classical performance of the first half of the twentieth century on the example of the stage achievements of N. Apukhtin, A. Belov, and G. Baukin. Conclusions. The artistic contribution of the ballet premieres of the 1950s – 1970s. in the development of Ukrainian classical choreography on the example of the creativity of dancers N. Apukhtin, A. Belov, and G. Baukin, consists in the following: 1) a significant increase in the professional culture of performers due to the complication of the technical component and improvement of the actors' acting skills; 2) the creation of highly artistic images in ballets of the Soviet classics (B. Asafiev, R. Glier, A. Kerin, S. Prokofiev, A. Khachaturian, M. Chulaki, V. Yurovsky, etc.) and choreographic performances on national themes (V. Homolyak, K. Dankevich, G. Zhukovsky, V. Kireiko, N. Lysenko, A. Svechnikov, M. Skorulsky, B. Tishchenko, etc.); 3) transfer of professional experience in the process of pedagogical work to subsequent generations of Ukrainian dancers. Key words: N. Apukhtin, A. Belov, G. Baukin, male classical dance, Ukrainian ballet theater.

Transformation of Artistic Imageries of the World and National Cinema in the Era of Postmodern

Introduction. In the last third of the 20th century new trends appeared in various spheres of public life. That made possible to characterize this time period as the era of postmodern. The culture processes of this period were called postmodernism. Despite significant research on the topic and phenomenon of postmodernism, it remains a subject of discussion, which makes the problem of its further study actual. The article reveals postmodernism through the prism of new accents in the disclosure of artistic images in world and national cinema. Transformation of artistic imageries in the cinema is analyzed in the historical, cultural and philosophical terms, which is an element of novelty of the article.Methodology and sources. The methodology is based on the analysis of sources and literature, taking into account interdisciplinary approaches. Historical, comparative, systemic and semiotic research approaches are used. The author also used an integrated approach (formational and civilizational), which gives us a new perspective in understanding cultural phenomenon.Results and discussion. The artistic images of the world cinema are conceptually considered in a comparative analysis with the pre-war and post-war eras. The theoretical basis is the work of foreign (F. Jameson, J. Lacan) and domestic researchers (V.M. Dianova, I.P. Ilyin, N.A. Khrenov). National cinematography in the postmodern era is studied in the context of global and European processes, which makes possible to identify its general and specific feature.The results of the study show that in the last third of the 20th century, a significant transformation of artistic imageries took place in the world and in the national cinematography. It was based on unprecented social and cultural processes that led to profound behavioral and discursive changes. National cinematography reflected in its development global trends. However, the cultural development of Russian society in the postmodern era coincided with a systemic crisis and the collapse of statehood. That determined the specificity of Russian postmodernism, its philosophical and cultural orientation. In this regard, the urgency of the problem of studying the cultural dynamics of spiritual processes of the late Soviet period and post-Soviet Russia, including in cinematography, is obvious.Conclusion. Cinematography as one of the most important phenomena fully reflects the dynamics of modern spiritual processes. Therefore, the study of artistic imageries of the world and national cinematography in the postmodern era is of significant research interest. The use of interdisciplinary and integrated approaches, taking into account the achievements of foreign and national researches, allows us to get a multidimensial picture of the spiritual transformation of the society. An unbiased understanding of the cultural and historical experience of the last third of the 20th century makes it possible to better understand the modern world, because without an analysis of the past, both the present and the future are inconceivable.

THEORETICAL AND METHODOLOGICAL BASES FOR PSYCHOLOGICAL DESIGN, DEVELOPMENT, SELF-REALISATION OF A CHILD’S PERSONALITY: THE FUTURE OF THE NATION NEEDS TO BE GROWN

In modern social development conditions, the competitive is the creative personality of a child, who carries out creative activity and self-develops. The possible ways of a child’s development in the light of genetic psychology, mainly genetic and creative approach, are revealed. The main mechanisms of creativity are presented. One important direction in digitalisation is researching the psychology of a personality as a real (not just imaginary) subject of study, as unique, unrepeatable and integral system, unity. Modern science lacks the main — the adequate method for the mentioned subject. The method acts as a central link of all the problems of the psychology of a personality; since it is not only a tool for obtaining the evidence-based facts but also a tool for embodying the scientific knowledge, and the way of its existence and storage. The human’s genetic phycology aims to study the conditions, in which the process of transforming the content and forms of personal mental phenomena, states of consciousness, and ways of action will be able to achieve the level of excellence of activities’ mental mechanisms, at the mentioned level the ability to make discoveries and inventions, create artistic images arises.

THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"

The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem. The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.

FROM THE HISTORY OF LITERARY TRANSLATIONS OF K.L. KHETAGUROV’S WORKS: L.D. KIPIANI’S RUSSIAN INTERPRETATION OF THE POEM "SIDZÆRGÆS" ("MOTHER OF ORPHANS")

В статье впервые рассматривается переведенный на русский язык грузинским поэтом и прозаиком Л.Д. Кипиани текст стихотворения К.Л. Хетагурова «Сидзæргæс» (с осет. ‛Вдоваʼ, ‛Мать сиротʼ, в переводе звучит как «Мать»). Автором исследования представлен лексико-семантический анализ разноязычных текстов (оригинал, перевод), прослеживается степень воспроизведения переводчиком интенций автора. В ходе анализа установлено, что приоритетная для художественного текста функция эстетического воздействия на реципиента достигается Л.Д. Кипиани использованием лексических единиц с близким семантическим значением. Однако передача символики, заложенной К. Хетагуровым в художественных образах, не всегда находит выражение в переводе. Важные для раскрытия идейного замысла художественного текста образы-символы: «æргъæвст халон» (‛закоченелая воронаʼ), «сау айнæг» (‛черный утесʼ), «саударæг ус» (‛носящая траур женщинаʼ) и т.д. остаются вне поле зрения реципиента. Не всегда автор перевода преследует цель отразить национально-культурную специфику, заключенную в семантике выражений «зæрдæ къахын», «буц хъæбул», «дудгæ фæбадын», «къона», «гыцци», «лыстæн». В тексте перевода они находят свои русифицированные варианты или не передаются вовсе.Но там, где переводчик отходит от содержания подлинника, создается оригинальный текст в той же художественной манере, близкой к авторской. Основная идея произведения в переводе не теряется: переводчик и на русском языке демонстрирует мытарства матери сирот. Л. Кипиани в целом удалось изобразить картину жизни осетин конца XIX – начала ХХ в., представленную К.Л. Хетагуровым в стихотворении «Сидзæргæс». For the first time, the article considers the translation into Russian by L.D. Kipiani, the Georgian poet and prosaic, of the text of the poem by K.L. Khetagurova "Sidzærgæs" (‛Widowʼ, ‛Mother of Orphansʼ, translated as “Mother”). The author of the study presents a lexical and semantic analysis of multilingual texts (original and translation), traces the degree with which the translator reproduces the author's intentions. In the course of the analysis, it was found that the priority function of aesthetic impact on the recipient for a literary text is achieved by L.D. Kipiani by using lexical units with similar semantic meaning. However, the transmission of the symbolism laid down by K. Khetagurov in artistic images does not always find expression in translation. Symbolic images that are important for the disclosure of the ideological concept of a literary text: "ærgævst halon" (a freezing raven), "sau ainæg" (black rock), "saudaræg us" (a woman in mourning), etc. remain out of sight of the recipient. The author of the translation does not always pursue the goal of reflecting the national-cultural specifics contained in the semantics of the expressions "zarda kahyn", "buts kh'abul", "dudgk fabadyn", "qona", "gyzzi", "lystun". In the text of the translation, they find their Russified versions or are not transmitted at all. But where the translator deviates from the contents of the original, the created text is, nevertheless, in the artistic manner, close to the author's. The main idea of ​​the work is not lost in the translation: in the Russian translation the hardships and ordeals of the mother of the orphans are also vivdly conveyed. L. Kipiani as a whole managed to depict a picture of the life of the Ossetians of the late 19th - early 20th centuries, presented by K.L. Khetagurov in his poem "Sidzærgæs" ("Mother of Orphans").

NAIVE ART: FEATURES OF CREATIVE PERCEPTION

The purpose of the article is to define the specificity of the concept of "naive", to analyse the peculiarities of the works of art of this direction, their distinctive features on the basis of the visual works of Ukrainian naivists. Methodology. The research methodology is based on the art history analysis, the complex use of historical and comparative methods, system analysis, synthesis and eneralization. Results. The concept of naïve has been defined, its specificity in relation to the related, but not identical terms, such as "primitive art" and "outsider art" has been singled out, and the components of the development of the given tendency have been studied. On the example of Ukrainian naive art representatives, the characteristic features of the artists of this direction were defined. The urgency of the application of artistic images of naive in the realities of contemporary design is underlined. The scientific novelty. The category of artistic and compositional features of this kind of art in the works of Ukrainian naïve artists have been investigated, the characteristic visual techniques of this artistic direction, which are actual for the application in the modern design projects, have been determined. Practical significance. The identified features of the concept of naive, originality of creative implementation of this trend can contribute to the further research of this topical for the design of postmodern art form, and become a part of the discipline of art studies of students-designers to enhance their competitiveness in creating a visual culture of the modern society on the basis of images close to the national mentality.

Works of Mykola Leontovych in the Performance Traditions of the Odesa Choral School

The purpose of the research is to identify the peculiarities of performing reading and conducting-methodical mastering of choral works by M. D. Leontovych in the activities of outstanding representatives of the Odesa choral school. The tasks of the work are determined: coverage of the concept of a performing school, in particular, the Odesa choral school; identification of the poetical-semantic features, intonational-expressive factors that influenced the performing approaches to the works of M. Leontovych; determination of the creative continuity’s features of generations in the context of interpretations, intonation and artistic images’ embodiment of M. D. Leontovych’s works in choral sound. The research methodology is based on the use of general scientific and special chorological approaches. An analytical-abstract approach was used to study the scientific literature on the outlined issues; in working with the memories of contemporaries, graduates – analytical and historical; in work with musical texts – choral, textual and selective methods; The system-structural method helped to present the phenomenon under study as a generalization of various research and practical tools – it became a unifying factor in the holistic understanding of experience. The scientific novelty of the research is due to the fact that for the first time an original view of the performing interpretation of individual works of M. Leontovych from the standpoint of performing, conducting, research experience of the Odessa Choral School; figurative-associative approaches in the context of chorological elaboration of the author’s text are covered; emphasis is placed on the relationship between musical and historical facts and current trends in the development of choral performance. Conclusions. M. Leontovych’s choral works are an original example of an individual author's concept of the folk song idea in choral elaboration, which forms multiple semantic vectors for performing interpretation. Genre-style, intonation-expressive priorities of the composer in the processing of folk song material become a kind of ‘guide’ in the interpretive strategies of performers and provoke them and the listener to certain reflections of associative, musical-semantic, theatrical and figurative composition. At the present stage of its development, the Odesa Choral School, declaring historically established approaches to the works of M. Leontovych in the repertoire of the student choir at the same time demonstrates their living performing tradition.

Un cercetător consacrat al poeticii mioritice

This article aims at a typical system of artistic images, focused on the principles of popular poetics, elucidated in the scientific investigations of the folklorist Sergiu Moraru. Obsessed with the „mioritic background we carry in our blood”, Sergiu Moraru traveled „from folklore to philosophy” where he foreshadowed some spiritual impulses, based on which are revealed the ontological dimensions of the popular soul, the philosophy of mioritic living, determined by some specific existential turmoil. This article aims at a typical system of artistic images, focused on the principles of popular poetics, elucidated in the scientific investigations of the folklorist Sergiu Moraru. Obsessed with the „mioritic background we carry in our blood”, Sergiu Moraru traveled „from folklore to philosophy” where he foreshadowed some spiritual impulses, based on which are revealed the ontological dimensions of the popular soul, the philosophy of mioritic living, determined by some specific existential turmoil.