Kim Vasylenko - founder of the artistic and pedagogical choreographic school of the Kyiv Institute of Culture

The purpose of the article is to find out the role of K. Vasylenko in the establishment and further functioning of the art-pedagogical school of the choreography department of the KSIC named after O.E. Korniychuk. Methodology. Methods of analysis and synthesis, induction, and deduction were used in the research process. The method of theoretical generalization was used to sum up the results. Scientific novelty. The activity of K. Vasylenko was analyzed in the optics of the management of the artistic and pedagogical choreographic school of KSIC named after O. E. Korniychuk for the first time. Conclusions. K. Vasylenko – the founder of the department of choreography KSIC named after O.E. Korniychuk, the leader of the art-pedagogical school formed on its basis. At the initial stage of the formation of artistic and pedagogical principles of the department, the authority of K. Vasylenko, his organizational and managerial, scientific-methodical, and choreographic abilities turned out to be extremely significant. He created a partnership, a friendly circle of like-minded people, passionate about the ideas of building an educational environment in order to develop a system of mastering folk-stage choreography, producing an artistic product. Through a number of mechanisms introduced by the leader (mutual attendance of classes, methodical seminars, discussion of open demonstrations and concert performances, etc.), there was a constant increase in the professional level of teachers. His own example of writing scientific and methodological works stimulated the revival of this type of activity in the teaching environment, which contributed to the creation of educational and methodological support of disciplines. Keywords: Kim Vasylenko, art and pedagogical school, department of the choreography of KSIC, dance.

Fandangos de Alosno

In our days the musical activity of Huelva cannot be understood without attending to its emblematic cante: the fandangos. They constitute a tradition of enormous significance for many citizens, beyond what it may mean for flamenco fans, accompanying relevant spaces of their social, personal and daily life. A wide variety of "styles", stylistic variants of the poetic-musical and choreographic form of the Andalusian fandango have been developed in various towns. They constitute each of the characteristic and recognizable musical designs with which they are sung and or danced in different places. These are practices that combine a multiplicity of forms: socially maintained collective traditions and experienced in local contexts, together with musical recreations by individual performers presented as an artistic product aimed at the audience. In this article we show the rich variety and uniqueness of the fandango in Alosno, analyzing its relationship and interdependence with the territorial, cultural and festive framework of El Andévalo region, the traditional contexts of performance, the generation of a variety of styles and the consolidation of the repertoire. En nuestros días no puede entenderse la actividad musical de la provincia de Huelva sin atender a su cante emblemático: los fandangos. Constituyen una tradición de enorme significación para muchos ciudadanos, más allá de lo que pueda suponer para los aficionados al flamenco, acompañando espacios relevantes de su vida social, personal y cotidiana. En varias localidades de la provincia se han desarrollado un amplio número de estilos o variantes estilísticas de la forma poético-musical y coreográfica genérica del fandango andaluz. Constituyen cada uno de los diseños musicales característicos y reconocibles con el que se cantan o bailan en distintos lugares. Se trata de prácticas que conjugan una multiplicidad de formas: tradiciones colectivas socialmente mantenidas y vivenciadas en contextos locales, junto a recreaciones musicales de intérpretes individuales presentadas como producto artístico dirigido al público. En este artículo mostramos la rica variedad y singularidad del fandango en Alosno, analizando su relación e interdependencia con el marco territorial, cultural y festivo de la comarca del Andévalo, los contextos tradicionales de interpretación, la generación de variedad de estilos y consolidación del repertorio.

Abhinaya as Practice-as-Research

What does a collaborative process of an artistic creation entail? How does the individual components of text, music, and dance weave in a solo choreography? This article brings together the voices of the dancer (Sarkar), the choreographer (Dandavate), and the music composer (Mirle) who has also sung and is the curator of the project called Nachi Meera. This project has commissioned multiple artists working in different dance techniques to present Abhinaya-esque (meaning expressive dance works) expositions on songs by the renowned historical saint-poet Mirabai. Sarkar, Dandavate, and Mirle reflect upon their collaborative journeys in this reflective essay where the process of creating an Abhinaya is theorized as research. The dance piece itself stands by itself as a scholarly product with historical, performative, and artistic research methodologies informing the process. This article documents the collaborative process borrowing from scholar Robin Nelson’s Practice-as-Research (PaR) methodology and argues how the artistic product weaves verbal, kinesthetic, and aural communication in an iterative process of ‘doing-reflecting-reading-articulating-doing” (Nelson 32). Movement layers the intricacies of South Asian aesthetics or the Rasa theory that governs the mood of execution by the dancer. Improvisation through choreography supplements Mirabai’s lyrics and Mirle’s musical composition.

The Application of Innovation Visual Animation Media (VAM) at Electrical in Automotive Vocational Education

The purpose of this study is to apply the concept of learning to electricity in the automotive sector based on visual animation media (VAM) as a creative learning product and to assess learning products. One shoot case study was chosen as the research design. A total of 25 participants were involved in the VAM evaluation. Data collection uses product assessment sheets based on creativity, appearance, and product content validity. The results showed that it consisted of three important aspects, namely “mastery” of learning materials, “creative”, and “artistic”. Product creativity as an output is categorized as creative enough, the product display is quite good, and 64% of the products meet the content validity requirements, while 36% do not meet the exact criteria.

Powell Flutes: Innovating Products and Markets

The purpose of this case study is to provide an understanding of how innovation is possible even when an artistic product has a 180-year history of design stability. Innovation does not come from a lightning bolt out of the sky. Rather, it emerges from an openness to new ideas and deep experience in your industry or product. There are numerous parameters on which a business can innovate, including materials, mechanics, aesthetic design and manufacturing technology. One approach is to eliminate constraints blocking innovation by working backwards from Z to A, rather than working incrementally forward from A to B to C. Market surveys must be conducted cautiously, as consumers may not be able to envision a hypothetical product for which a prototype is not yet available. When innovation breaks new ground, it can also create new markets or market segments. Therefore, it is generally preferable to own 100% of your own market segment than 10% of a highly competitive market.

12. Managing the Changes in the 21st Century Performing Art. Methods of Eliminating Social Barriers in the Consumption of Classical Music Performances

In the unfortunate circumstances of the current declining consume of classical music, the intention to facilitate the access of the young, uneducated audience to classical music is becoming increasingly visible in the practices of the local, national and international cultural operators. Identifying the optimal methods around which unconventional, innovating artistic events can develop is essential in order to shape the audience of the future. The consumer needs to be educated progressively in order to accept what some call “elite art”. The mediation of the education process must be initiated from a point that places the audience in a comfortable position, even though this may, on the other hand, represent a compromise for the artists. From this perspective, the classical artistic product must become flexible, must outgrow patterns as well as traditional social constraints and adapt in order to be closer to the community. The research relies on a survey involving a sample group of 571 people, study aimed to measure the individuals’ propensity to consume symphonic music, opera and classical ballet. The mission consisted in highlighting the reasons that cause consumers to move away from classical music as well as searching for solutions to lure them and win their loyalty, in order to be transformed into an educated audience capable of understanding and processing artistic emotions.

The One Unforgivable Transgression?

In terms of economic capital, Kluun is one of the most successful Dutch authors of the last two decades. To date, at least a million copies of his debut novel Komt een vrouw bij de dokter have been sold; the book has been translated into 26 languages. His later novels were less successful, but were still sold in considerable numbers. The reason why the ‘Kluuncase’ is remarkable is twofold. Firstly, Kluun is the former owner of an Amsterdam advertising firm, and considered his first novel not only an artistic product but an advertising venture as well; secondly, Kluun consciously played with the gap between his economic success and the the amount of symbolic capital he accrued, and used the branding of his name and work as a literary strategy.

METHODS OF DECODING DATA USING BIOLOGICAL RESEARCH AND ARTIFICIAL INTELLIGENCE IN CULTURE PRACTICE

The article is a comprehensive analysis of projects aimed at studying AI technologies and culture interaction. The author examines the specifics and uniqueness of art works created through AI-technologies using examples of projects from “ThoughtWorks Arts Global Research”, “Innovation Laboratory of New Technologies”, “Isolation Foundation” and “IZONE Creative Association”. The article analyzes the principle of selection of materials, algorithmic analysis of data, the interdependence of digital data received from the user's brain impulses with audiovisual content, the possibility of instant data processing in the process of creating an artistic product. The author explores the principles of tracking brain function and decoding human genetic data, which are used to create art projects. The article assesses the potential that AI possesses and explains the conditions necessary for the implementation of AI-technology in culture. As a result of the study, the author revealed that through algorithmic analysis it is possible to transform digital data into a system of expressive signs of visual and sound arts, to broadcast the received audiovisual content. The author finds out that through these technologies it is possible to create interactive art forms (interactive film, installations, immersive presentations, etc.).

Brief Analysis of the Visual Language of Digital Animation

Digital animation is a new form of artistic expression of animation, which fully coincides with the cultural atmosphere and social context of pursuing visual perception in modern art. The visual language takes color, shape, space, motion as communication means to make appropriate expression in a specific context and carry out specific information transmission. Therefore, digital animation is not only an artistic product, but also a trend of visual communication exploration. It combines science and technology with art, providing more possibilities for artistic creation. This paper takes the visual language as the main line and attempts to explore the characteristics, performance and formation mechanism of digital animation.

SCREEN ATTRACTIONS: BETWEEN VISUAL AND NARRATIVE

Based on a number of provisions of aesthetics and film semiotics, the article interprets the structural features of the attractions of screen civilization and analyzes their varieties in the context of serial art products that reveal their structural and receptive specifics. The attraction has its deep reflection in the mental structure. The attraction appears as an external manifestation of the phantasm. The attraction, like phantasm, resonates on the basis of the difference of several episodes with which it is connected by the relation of causality. Art “produces the phantasm theatrically” (according to G. Deleuze), bringing the quasi-event from the depths of the psychic to the surface, into the symbolic space of artistic fiction. Phantasm is an internal resonance of the two series, while an attraction appears as an external manifestation and effect of the difference between the causal series (visual/narrative; rational/emotional; singular/universal, fictional/real, presence/absence). Based on the disjunctive synthesis of these series, an attraction occurs in films and comic books on foot of the ultimate (limiting the space for fiction) and the transcendent, going beyond the screen limitations, canceling the conventional barriers for fiction. A locomotive rushing into the auditorium from the cinema screen is an example of an attraction that is considered in the screen civilization as an attractive and sensational element of an artistic program. Such a cinema attraction is addressed almost exclusively to the eye, and for its success the resonance is important, which is provided by the predominance of the visual over the narrative. The juxtaposition, going back to André Gaudreault’s semiotics, between a cinematic attraction (in which the visual component is almost unchallenged) and НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 14 THE ART AND SCIENCE OF TELEVISION that of films (filmique), in which the narrative might have a chance for revenge, reveals an interesting response in the culture of the modern series. A film attraction appears as a result of the constructive interaction of visual perceptions and creative interpretations of the plot, shaped by the recipients themselves. It is assumed that a cliffhanger, which is often used in the series, can be such an attraction. In the modern storytelling, the art of creating and maintaining intrigue is endowed with fundamental importance. The attraction of the series is aimed at the continuation, at the teaser of the next episode, which should look as attractive as possible and seem to be an artistic product absolutely mandatory for consumption. The techniques and practices developed for these purposes become systematically updated in the media space, which nowadays is literally “infected with cliffhangers”.