Investigación-Acción Participativa en el Grupo denominado “Colectribu” de Jóvenes Artistas en situación de Riesgo Social

This research tries to describe the group dynamic that unravels between members of the hip hop artistic collective “Colectribu”, consisting of young people in social risk, exposed to phenomena such as violence, gangs and substance abuse, they attend the “Resistencia Juvenil” program dependent from the La Paz Foundation. It describes a space of artistic development allowing growth of artistic abilities by means of lyricism workshops, musical production and others types of workshops. At the same time the concept of gang reformulates, leaving behind the violent intent to redirect the work from “Colectribu” to creation, social contribution and personal growth. “[Colectribu] is a union of youth who come from different places of La Paz who get together joined by hip hop, it’s a way of expressing to people a new message, that is conscious and reflexive”. An action-participative study was made, as well as a documentary who logs the reality of the members of the group that can be found at https://youtu.be/fiX6eR1FV4A.

Innovative Way of Cinema Development

The purpose of the research is to identify the characteristics of modern cinema, to analyze the factors of cinema language formation and to reveal new possibilities for displaying reality in screen art. The research methodology consists in the application of the following methods: theoretical is a review of the history of the screen arts development, analysis of art direction works and modern screen artworks (films, TV series, web series), generalization of modern technologies influence on the perception of the world and human socialization. Scientific novelty. For the first, time new possibilities of displaying reality on the screen, which change the artistic development of culture, are analyzed, a new approach to the perception of modern technologies, their influence on consciousness and development trends in screen art is implemented. Conclusions. The development of screen arts and factors of the formation of the cinema language has been analyzed. With the help of the analysis of art direction's works and works of screen art, the characteristics of modern cinema have been identified and new opportunities have been revealed. The influence of modern technologies on the perception of the world and human socialization has been generalized.

The art episteme of national self-identification in the context of postcolonial cultural trauma

At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development

Technology-centred learning processes as digital artistic development: On the reciprocal effects of conceptual models, metaphors and presets

This case study looks at a self-directed learning process of a professional classical-trained musician adopting a previously unknown digital-material musical device. In order to achieve the desired artistic result, the musician has to modify his music-related action in favour of the device’s calls for action, which are shown to him by a preset session. For this purpose, a specific interface relation must be established in the connection between the user and the device. The case study is contrasted with data from its framing research project. Findings include aspects as affirmation or degrees of unfamiliarity and their respective impacts on the subject’s action repertoires. A model of learning in the context of digital media or interfaces is introduced and discussed. It offers a specific potential for identifying particularities of how meaning and functionality of digital-material musical devices are embedded into everyday artistic contexts.

Development of Novel Forms of Fungal Art Using Aspergillus nidulans

Fungi are embedded in human culture, tradition, and art, and have featured as inspirational and visual motifs. Psychedelic and medicinal mushrooms have been sculpted, painted, and ingested by our ancestors since prehistory. In modern times, the growing divide between the arts and sciences has delegated fungal art to a niche activity, with the bulk of the focus being on mycelium as a biomaterial. A collaboration between a multidisciplinary artist and a research laboratory, specializing in the molecular study of Aspergillus molds, has allowed us to develop new forms of mycelial art. We describe in detail the development of fungal art techniques using nutrient-rich agar containing Aspergillus nidulans conidia spotted on glass acrylic surfaces or impregnated onto etched acrylic blocks. This approach generates visually and temporally dynamic artwork that is user-friendly, safe, relatively resistant to contamination and easily scalable. Moreover, it offers countless avenues of artistic development based on the diversity of colors, textures and shapes afforded by different fungal species.

The creative activity of the choir class of Ivano-Frankivsk Vocational Music College named after Denys Sichynskyi

The purpose of the article. To reveal the principles of professional growth of the choir class of Ivano-Frankivsk Vocational Music College named after Denis Sichinsky through the prism of conducting its leaders. Outline the repertoire findings and concert and festival achievements of the group. The methodology consists in the implementation of a system-chronological approach in the analysis of individual pages of the team's activities, first published personal archival materials of the author. It is also possible to use a scientific method to combine and adjust new and previously obtained results, thus tracing the process of professionalization of the college choir for more than 80 years of existence. The scientific novelty is to trace and highlight the stages of the creative practice of the choir class. For the first time, an attempt was made to characterize the activities of the teaching staff of the college from its founding to the present day, which allows us to recreate a holistic picture of its artistic development. Conclusions. For a long time the choir class of the college was headed by famous choirmasters, thanks to whom creative youth has the opportunity to form professionally and popularize samples of the world and Ukrainian choral music in the region, different parts of Ukraine, and abroad. The basis of the choir's repertoire consists of works of various genres and styles, but the uniqueness of the ensemble's funds lies in the sound of D. Sichynsky's choral heritage. Thus, in the cultural process of Prykarpattia and Ukraine, the student academic choir, as a participant in the educational process and a unique concert unit of the region, has an important role.

Liturgical Objects

From the Late Antique period through the end of the Byzantine Empire and beyond, liturgical objects were used for the preparation and celebration of the Eucharistic rites. Often of precious metals, these objects are documented in both written sources and the archaeological record. They provide important evidence for the development of Christian liturgical and artistic practices as well as elite attitudes towards charitable giving and expectations for the afterlife. This chapter discusses material and documentary evidence surviving from Late Antique Italy, North Africa, Syria, Britain, and Germany to Late Byzantine Asia Minor, Greece, and the Balkans, providing an overview of types, their relationship to objects of domestic silverware, and their material, artistic development, and epigraphic as well as iconographic decoration.

On Body and Education

The history of the teaching of movements is a remarkable field in the history of education, the research paradigm of which also presupposes social and cultural-historical studies and accurate document analysis. The impressive volume published in 2021 and edited by Simonetta Polenghi, András Németh and Tomáš Kasper, provides a comprehensive overview of the educational trends from the turn of the century to the 1950s. The book’s authors present the trends in physical education and movement arts in the European countries of the era from exciting perspectives. The studies focus on how the public health, ideology, art, and pedagogical trends of the first half of the 20th century influenced educational policy aspirations for the physical and artistic development of the body.

On the autobiography of M. Y. Lermontov's dramaturgy of the early period (plats “Menschen und Leidenschaften” and “A Strange Man”)

This article is dedicated to the analysis of the two plays written by M. Y. Lermontov in the the early period – “Menschen und Leidenschaften” and “A Strange Man” form the perspective of manifestation of autobiographical context therein. These works are based on the dramatic events in Lermontov's biography that took place in 1830–1831, such as conflict between the poet's grandmother and father, death of his father, as well as Lermontov's relationship with N. F. Ivanova. Analysis is conducted on the texts of these two dramas, as well as on the biographical situation that encouraged Lermontov to create these plays. Special attention is given to determination of specificity of interrelation between the biographical and fictional in Lermontov's dramaturgy of the early period. Lermontov’s appeal to the drama genre is associated directly with the need for artistic mastering of the biographical context. The article analyzes the process of instilling life facts in the dramaturgical text, as well as the specificity of manifestation of the autobiographical in the plotline, images of the heroes, as well as ideological-thematic aspect of the work. The result of the conducted research lies in tracing the evolution of the image of the protagonist based on self-projection of the author's personality, as well as the peculiarities building a romantic conflict that has autobiographical grounds. The two compositions represent a different perspective upon the personality and behavior of a “strange” man; autobiographical accuracy in depicting a romantic conflict is associated with the possibility of conveying the history of relationships in the play, due to the closeness of this literary genre to empirical reality. This allows viewing the two plays as a system of artistic development of biographical events in the dramatic discourse.