Artificial intelligence in artistic practices

The article considers methods of involving artificial intelligence in artistic practices. Based on the analysis of ways to use this technology in visual arts and music, the basic principles of working with artificial intelligence technology are identified, including: imitation of historical art, implemented in projects The Next Rembrandt and Choral; generative art, which is found in the works “Hyperbolic Composition І” and “Hyperbolic Composition ІІ” of S. Eaton and also in the AIVA program (Artificial Intelligence Virtual Artist). The importance of the mechanisms of neurobiology in the process of working with artificial intelligence on the example of the project “Neural Zoo” of S. Crespo, Iamus program, in which the development of musical material is based on the principle of evolution, is stated. In the application Endel and in the opera “Emotionally intelligent” Artificially Intelligent Brainwave Opera» of E. Perlman, a neural network is used to read information about the human condition and its further processing for modification into a sound landscape or image. The development of artificial intelligence and its use in artistic practices opens up new opportunities, expanding both the field of authors of artistic content and attracting new audience. This phenomenon provokes many issues, including: the ability to think artificially of artificial intelligence, the ability to create works of art without human intervention, as well as issues related to copyright.

Immersive Environments, VR, AR in Ukrainian Contemporary Art of The Recent Years

The article is devoted to the scientific problem of theoretical elaboration and contextualization of immersive environment realized in the physical space of a gallery or museum, in VR and on the new virtual platforms on the Internet, as well as in hybrid space, in the augmented and mixed reality of the 21st century. The aim of the research is to identify the peculiarities of the formation of the immersive environment and of the practices of VR and AR projects creation in Ukrainian contemporary art in recent years. The task is to elaborate the theoretical bases of the development of immersive environments and VR, review and analysis of projects that use the digital technologies in order to create an immersion and AR. The methodology of the study consists in theoretical and field research of immersivity and in the author’s experiments development. The main method is a comprehensive and systematic approach to the development of the theory of virtuality, visual and photometric methods, analysis of concepts, spatial structure and technological features of online VR platforms and artistic realizations. The concept of sensorium is involved, which describes the feeling, perception and interpretation of information about the world around. The peculiarities of creating immersive environments in physical space in the projects «MetaPhysical Time-Space», «Refraction of Reality», «Living Energy» were explored (to be included into the national art discourse), as well as in VR in the frame of VR-festivals, such, as Carbon Media Art Festival, «Frontier» and «Virtuality» that serve as a testing ground for the development of new technological art. The possibilities of new online VR platforms, such as Mozilla Hubs, WebXR, AltspaceVR, artspaces.kunstmatrix, Cryptovoxels, Transmadatac Virtual Museum, are analyzed. The practice of creating VR projects on platforms on the Internet: Artefact Chornobyl 33 and Artefact Chornobyl + MADATAC, «VR Collider» and «Genesis» are considered as case study. Drift from immersive environments in physical space to virtual reality has been detected. The multi-vector nature of AR projects and different types of connection with book publishing, public art objects, contemporary sculpture and urban practice have been revealed.

Changes in the themes, aesthetics and functions of public images in Kyiv due to the influence of socio-cultural processes in the society of 1990-2010

On the back of the rapid development in public art in recent decades, and in particular graffiti and muralism, interest in them has grown significantly among cultural studies scholars, art critics, architects, sociologists, and urban planners. Numerous works that have appeared in the West and in Ukraine are devoted to various aspects of the visual public art existence. This theme continues to be one of the most relevant for contemporary visual art. This article complements the bunch of acquired knowledge with a detailed study of the impact of socio-cultural processes in society on the changes that took place in monumental painting, graffiti and muralism in Kyiv during 1990–2010, i.e. during the most important changes in politics and society in recent decades. The peculiarities of each historical stage of this influence are analysed and outlined in the study, and the theoretical analysis is displayed by the description of the most characteristic works. Most of them are researched in detail. In addition, the process of decline of monumental painting in the late 1980s and early 1990s is analysed, the factors of graffiti flourishing in the 1990s are identified and highlighted, and the origins of the rapid development of muralism after 2004 and especially after 2014 are explored. At each stage, changes in the themes, aesthetics and functions of public images are traced. The definitions, such as muralism and graffiti, are updated in this paper, taking into account changes in art and the latest achievements in its analysis. The manifestations of the national-patriotic themes in the contemporary art of muralism are considered in detail, the classification of art work on this subject is given, the corresponding examples are given. Such concepts as public art, synthesis of arts, monumental painting, graffiti, muralism are attentively aligned. The study of the nature of the socio-cultural processes and visual arts correlations is promising for further scientific and theoretical developments and the practical aspect for better understanding of the specific works

Alexandra Ekster’s Contribution to Ukrainian and World Art Culture

The work of Ukrainian artists who have contributed to Ukrainian and international art, is not sufficiently disclosed. Their creative search impresses with versatility, interesting decision, continues to impress and inspire contemporaries. Purpose of the article — to find out the contribution of the Ukrainian avant-garde artist, set designer, teacher Oleksandra Ekster, to the Ukrainian and international fine arts. Oleksandra Ekster’s work has been the subject of research for decades. Scientists are interested in the painter’s art search, her contribution to Ukrainian avant-garde, scenography reforms, and teaching activity. Some sources may state that Ekster is a representative of Russian avant-garde. However, the artist grew up in Kyiv, obtained art education and promoted with her work not only Ukrainian but world avant-garde as well. The research of modern scientists (H. Kovalenko, D. Horbachova, T. Filevska, N. Stoliarchuk, M. Yur and others) makes it possible to review the artist’s life and artistic journey as well as her contribution to art history. The research methodology consists of a range of methods: historical, biographical, theoretical. The abovementioned methodological approach allows studying the question of historical data relating to the events in Ukraine that led to the emigration waves, finding out certain biographical facts and analyzing the artist’s creative activity.

Contemporary Ukrainian Art: Truth and Myths

It is becoming ever harder to discover the truth about the events that comprise the history of contemporary Ukrainian art. What gets in the way are the evaluations, interpretations and opinions whose objectivity is cast in doubt by the biases of their authors, largely participants of the events. This article is an attempt to take an unbiased look at these events, define their context in art, and describe the details that have so far escaped the scholarly attention.

Performativity, Discourse and Communication: Relationship of Concepts

The article analyzes approaches to the study of phenomena and concepts of performativity, discourse and communication, and makes it possible to trace how various types of communication are interconnected in the structure of artistic culture. It has been established that in modern society, performativity, discourse and communication provide a higher level of generalization and prevalence than in previous historical periods, which leads to an expansion of the subject field for the study of these phenomena. The aim of the work is to research and systematize existing theories conceptualizing performativity, communication and discourse in the mode of humanitarian knowledge. This approach will contribute to solving the scientific problem of clarifying the conceptual and categorical apparatus of modern cultural studies and art history. Methodology of work. The theoretical and methodological basis of the study were philosophical and general scientific approaches, principles and methods that made it possible to analyze the phenomena of performativity, discourse and communication from different-vector positions: the method of generalization, made it possible to determine the place of performativity, discourse and communication in the worldview paradigm due to the analysis of ambiguous formulations and statements about the phenomena, which were presented in various sources; an interdisciplinary approach ensured the use of the latest theoretical developments in the social sciences and humanities; the sociological approach made it possible to consider the phenomena of performativity, discourse and communication at the macrosocial and microsocial levels.

Manifestations and Forms of the Communication on Competitions and Festivals

The paper researches manifestations and forms of the communication of competitions and festivals. The purpose of this research is to consider and characterize the phenomenon of the communication of competitions and festivals and to determine its main manifestations and forms. The initial guideline of the study was the statement that festivals and competitions perform many of functions, but most researchers distinguish the communication function as the main one. The research was held by collecting a source base on select issues. Author selected scientific papers, dissertations, monographs, as well as held her own observations of various competition-festivals organization. The next step is to analyze the selected literature. Author identified the degree of elect issues study, in particular, the phenomenon of the communication in competitions and festivals, its manifestations and forms etc. Author took into account her own experience in organization and holding of competitions and festivals too. As a result the paper the original classification of all observed manifestations and forms of the communication on competitions and festivals.

Educational space of visual art of Ukraine

The article analyses the educational space of Ukrainian visual arts. The educational component of the modern art system is insufficiently studied and requires the definition of its boundaries, a description of the main characteristics, the delineation of development vectors. Therefore, the article gives a meticulous view of the preconditions and history of building the basic principles of the educational order of local visual arts. The rest of the research examines the current learning process, its structure, components and communication links. The author determines the place of education in the system of institutional structure of modern visual art of Ukraine, emphasizes its features in relation to the global educational art paradigm.

Zenoviy Flinta’s artistic ceramics of 1960-80s: Stages of development of the author’s creative manner and influence of artist’s painting on his artistic ceramicsand Ukrainization

The works of Zenovia Flint, an outstanding artist, teacher and nonconformist ceramist, who embodied in his ceramic works of the 1960s and 1980s his own picturesque informal searches and philosophical images-allegories in the author’s manner, are analyzed. For the first time, the systematization of directions and stages of formation of Z. Flint’s authorial style in the field of artistic ceramics was performed, as well as an art analysis of the influence of the artist’s painting on his ceramics.

Transformation of Borys Lyatoshynsky›s school ideas in the creative search of Leonid Grabovsky and Valentyn Silvestrov

The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.