DSpace Собрание:http://dspace.tnpu.edu.ua/handle/123456789/125552023-12-11T10:37:11Z2023-12-11T10:37:11ZХудожній метамодернізм: від експансії мертвого – до дихання живогоКондрацька, Людмила Анатоліївнаhttp://dspace.tnpu.edu.ua/handle/123456789/126272021-06-24T11:56:08Z2018-01-01T00:00:00ZНазвание: Художній метамодернізм: від експансії мертвого – до дихання живого
Авторы: Кондрацька, Людмила Анатоліївна
Краткий осмотр (реферат): У статті обґрунтовано перспективи метамодерністичного мистецтва як антиномічного співбуття в єдиному творчому процесі інтуїтивного чуття Краси і енергійного поривання Розуму, індивідуального духу свободи і колективної логіки. На прикладі епістемологічного аналізу жанрових різновидів відповідної артпрактики (живопису Адама Міллера, Мітча Гріффіта, Кея Доначі, колажів Девіда Торпа, інсталяцій Баса Яна Адера, фільмів Мішеля Гондрі, Уеса Андерсена, Спайка Джонса, постінтернет-музики у жанрі мікстейл і ґерідж) концептуально узагальнено антропологічну та естетичну парадигми метамодернізму і стратегій (метарефлексивності, перформатизму, осциляції, конструктивного пастішу; нормкору, антропоморфізації; меtа-сute) формування належної компетентності його адресанта.; В статье обосновано перспективы метамодернистичного искусства как антиномичного сосуществования в едином творческом процессе интуитивного чувства Красоты и энергичного стремления Разума, индивидуального духа свободы и коллективной логики. На примере эпистемологического анализа жанровых разновидностей соответствующей артпрактики (живописи Адама Миллера, Митча Гриффита, Кея Доначи, коллажей Дэвида Торпа, инсталляций Баса Яна Адера, фильмов Мишеля Гондри, Уэса Андерсена, Спайка Джонса, постинтернет-музыки в жанре микстейл и ґеридж) осуществлено концептуальное обобщение антропологической и эстетической парадигмы метамодернизма и стратегий (метарефлексивности, перформатизма, осцилляции, конструктивного пастиша; нормкора, антропоморфизации; меtа-сute) формирования надлежащей компетентности его адресанта.; Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades – of climate change, financial meltdown, and the escalation of global conflicts – we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed end of history. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other.
Thus, metamodernism itself is intended as a philosophy or an art movement, since it define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is a manifesto of today’s dominant cultural mode. However, мetamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed.
With the recent ebb of typically postmodern sensibilities and the rise of a new generation – one reacting not only against a discredited notion of transcendence but also against the unfulfilling shallowness and existential disorientation caused by postmodern surface – we enter a new period: a metamodern period, whose structure of feeling is characterized by a sort of “oscillation” between these poles. Proposed by cultural theorist Timotheus Vermeulen and philosopher Robin van den Akker as the new “dominant cultural logic of modernity”, metamodernism evokes a continuous oscillation between (i.e. meta-) seemingly modern strategies and ostensibly postmodern tactics, as well as a series of practices and sensibilities ultimately beyond (i.e. meta-) these worn out art-categories. Indeed, out of this crucible it seems an entirely new kind of depth model has been forged. For some of this generation are daring to imagine transcendence again. There is a revival of the mythic; sublimity, narrative, depth, meaning, and reorientation are once again being sought out and can be seen within metamodern artforms. And yet, precisely because one knows this transcendence cannot be unequivocally asserted (indeed, quite the contrary), its entertainment as an idea is of an essentially different sort than (pre)modern naiveté. It is indeed an “informed naiveté” a sense of transcendence arising out of and ultimately held in check by the acknowledged immanent frame. The show’s curators refer to the notion of sleight of hand in their exhibition notes, comparing art with the field of magic and trickery. Art’s “magical” operations necessarily exploit the constraints of the systems in which they operate, perhaps requiring a degree of suspension of disbelief in order to be fully realised. Here, the perceptive metamodern spectator can be seen to acknowledge the smoke and mirrors, whilst continuing to hope for the emergence of something greater than the sum of its parts: the promise that reason might be usurped by affect.2018-01-01T00:00:00ZМіфологічна традиція у пластичному декорі храмів Давньої РусіЧуйко, Олегhttp://dspace.tnpu.edu.ua/handle/123456789/126262019-06-04T11:12:35Z2018-01-01T00:00:00ZНазвание: Міфологічна традиція у пластичному декорі храмів Давньої Русі
Авторы: Чуйко, Олег
Краткий осмотр (реферат): У статті обґрунтовано перспективи метамодерністичного мистецтва як антиномічного співбуття в єдиному творчому процесі інтуїтивного чуття Краси і енергійного поривання Розуму, індивідуального духу свободи і колективної логіки. На прикладі епістемологічного аналізу жанрових різновидів відповідної артпрактики (живопису Адама Міллера, Мітча Гріффіта, Кея Доначі, колажів Девіда Торпа, інсталяцій Баса Яна Адера, фільмів Мішеля Гондрі, Уеса Андерсена, Спайка Джонса, постінтернет-музики у жанрі мікстейл і ґерідж) концептуально узагальнено антропологічну та естетичну парадигми метамодернізму і стратегій (метарефлексивності, перформатизму, осциляції, конструктивного пастішу; нормкору, антропоморфізації; меtа-сute) формування належної компетентності його адресанта.; В статье обосновано перспективы метамодернистичного искусства как антиномичного сосуществования в едином творческом процессе интуитивного чувства Красоты и энергичного стремления Разума, индивидуального духа свободы и коллективной логики. На примере эпистемологического анализа жанровых разновидностей соответствующей артпрактики (живописи Адама Миллера, Митча Гриффита, Кея Доначи, коллажей Дэвида Торпа, инсталляций Баса Яна Адера, фильмов Мишеля Гондри, Уэса Андерсена, Спайка Джонса, постинтернет-музыки в жанре микстейл и ґеридж) осуществлено концептуальное обобщение антропологической и эстетической парадигмы метамодернизма и стратегий (метарефлексивности, перформатизма, осцилляции, конструктивного пастиша; нормкора, антропоморфизации; меtа-сute) формирования надлежащей компетентности его адресанта.; Metamodernism is a term that has gained traction in recent years as a means of articulating developments in contemporary culture, which, it is argued (and our generation appears to intuitively recognise) has seen a move beyond the postmodern mode of the late 20th century. In the wake of the myriad crises of the past two decades – of climate change, financial meltdown, and the escalation of global conflicts – we have witnessed the emergence of a palpable collective desire for change, for something beyond the prematurely proclaimed end of history. The metamodern generation understands that we can be both ironic and sincere in the same moment; that one does not necessarily diminish the other.
Thus, metamodernism itself is intended as a philosophy or an art movement, since it define or delineate a closed system of thought, or dictate any particular set of aesthetic values or methodologies. It is a manifesto of today’s dominant cultural mode. However, мetamodernism does not, then, propose any kind of utopian vision, although it does describe the climate in which a yearning for utopias, despite their futile nature, has come to the fore. The metamodernism discourse is thus descriptive rather than prescriptive; an inclusive means of articulating the ongoing developments associated with a structure of feeling for which the vocabulary of postmodern critique is no longer sufficient, but whose future paths have yet to be constructed.
With the recent ebb of typically postmodern sensibilities and the rise of a new generation – one reacting not only against a discredited notion of transcendence but also against the unfulfilling shallowness and existential disorientation caused by postmodern surface – we enter a new period: a metamodern period, whose structure of feeling is characterized by a sort of “oscillation” between these poles. Proposed by cultural theorist Timotheus Vermeulen and philosopher Robin van den Akker as the new “dominant cultural logic of modernity”, metamodernism evokes a continuous oscillation between (i.e. meta-) seemingly modern strategies and ostensibly postmodern tactics, as well as a series of practices and sensibilities ultimately beyond (i.e. meta-) these worn out art-categories. Indeed, out of this crucible it seems an entirely new kind of depth model has been forged. For some of this generation are daring to imagine transcendence again. There is a revival of the mythic; sublimity, narrative, depth, meaning, and reorientation are once again being sought out and can be seen within metamodern artforms. And yet, precisely because one knows this transcendence cannot be unequivocally asserted (indeed, quite the contrary), its entertainment as an idea is of an essentially different sort than (pre)modern naiveté. It is indeed an “informed naiveté” a sense of transcendence arising out of and ultimately held in check by the acknowledged immanent frame. The show’s curators refer to the notion of sleight of hand in their exhibition notes, comparing art with the field of magic and trickery. Art’s “magical” operations necessarily exploit the constraints of the systems in which they operate, perhaps requiring a degree of suspension of disbelief in order to be fully realised. Here, the perceptive metamodern spectator can be seen to acknowledge the smoke and mirrors, whilst continuing to hope for the emergence of something greater than the sum of its parts: the promise that reason might be usurped by affect.2018-01-01T00:00:00ZНародні художні промисли і ремесла Гуцульщини та Покуття: традиції, майстри, школи, їх вплив на розвиток етнодизайну ГаличиниГнатюк, Михайлоhttp://dspace.tnpu.edu.ua/handle/123456789/126252019-06-04T11:12:57Z2018-01-01T00:00:00ZНазвание: Народні художні промисли і ремесла Гуцульщини та Покуття: традиції, майстри, школи, їх вплив на розвиток етнодизайну Галичини
Авторы: Гнатюк, Михайло
Краткий осмотр (реферат): У статті досліджено традиції народного мистецтва Гуцульщини і Покуття, висвітлено особливості народних промислів, умови формування професійних шкіл та осередків художніх ремесел, роль прогресивної інтелігенції у їх створенні й діяльності. Зокрема, окреслено період продуктивної діяльності проектного бюро І. Левинського, пленерної практики школи О. Новаківського в Космачі, деревообробних шкіл у Вижниці, Косові, спілки “Гуцульське мистецтво” М. Куриленка та їх значення у популяризації народного стилю.; В статье исследованы традиции народного искусства Гуцульщины и Покутья, освещены особенности народных промыслов, условия формирования профессиональных школ и очагов художественных ремесел, роль прогрессивной интеллигенции в их создании та деятельности. В частности, очерчено период продуктивной деятельности проектного бюро И. Левинского, пленэрной практики в Космаче школы А. Новаковского, деревообрабатывающих школ в Выжнице и Косове, союза “Гуцульское искусство” М. Куриленко, их значение в популяризации народного стиля; Halychyna has long attracted artists from other territories of Rus and abroad. By Prince Danylo Halytskiy all sorts of artists who fled from the Tatars got settled here. So in the vicinity of Halych such settlements as Bodnariv, Sapogiv, Komariv, Gonchariv and others were founded which were famous for their crafts. During the Renaissance period many young people began to conquer the European universities, where they studied “the seven free arts”. The best sons of merchants and artisans headed abroad who later became the secular scientific intelligentsia and contributed to the study of historical monuments, works of art folk art and enriched Ukrainian science.
The article reveals the traditions of folk decorative and applied art of Hutsulshchyna and Pokuttya, features the creative work of outstanding craftsmen, artists, architects – the representatives of various professional schools and centers of manufacturing products made of clay, wood , metal, fabrics, the conditions of establishment of folk art and artistic crafts. Significant attention is paid to the period of Art Nouveau in architecture, design and the creative work of I. Levynsky and to the employees of his designing company, who created a new style of the era. Of particular importance for the development of artistic craft in the region were woodworking schools in Vyzhnytsia and Kosiv, woodcarvers Vasyl Shkribliak, Marko Megedyniuk and Vasyl Devdiuk, the society “Hutsul Art” headed by teacher Mykhailo Kurylenko assisted by scientist-ethnographer Volodymyr Hnatyuk. Its members abode by the folk style of manufacture in weaving, woodcarving, used exclusively natural dyes, involved to the design professional artists, so the products were distinguished by high quality and enjoyed significant demand for a long time. During World War II, an industrial school operated under the guidance of headmaster Mykola Guleichuk in Kosiv, thanks to which many of the local youth managed to avoid removal to Germany.
Another center of artistic crafts became Kosmach, where also lived a lot of carpenters, furniture makers, wood carvers, including Mykyta Semchuk, Vasyl Yusypchiuk, Lukian Kifiak and others. Significant impact on the youth there had an artistic school of O. Novakivsky from Lviv, teachers and students from which, studied the Ethnography of the region, participated in the local performances and other cultural events.
Folk art developed in another way during the Soviet period. Enterprises of folk crafts operated in Kosiv: cooperative craft society “Hutsulshchyna”, workshops of Art Foundation, where professional artists and craftsmen, the representatives of different branches of the whole region gathered: prominent woodcarvers, weavers, ceramists, mostly graduates from the local school.
Now in the conditions of market relations and without proper support on part of the State, we can state a significant decline of traditional crafts, the usage of other ornaments, synthetic materials, false execution techniques that leads to the famous kitsch. There are problems of training in art institutions, in particular unwillingness and unpreparedness of youth to choose art professions.2018-01-01T00:00:00ZТворчість архітекторів – представників архітектурних шкіл, які вплинули на формування архітектурного та культурного середовища Тернополя на початку ХХІ століттяДацюк, Наталія Михайлівнаhttp://dspace.tnpu.edu.ua/handle/123456789/126242021-06-16T07:26:36Z2018-01-01T00:00:00ZНазвание: Творчість архітекторів – представників архітектурних шкіл, які вплинули на формування архітектурного та культурного середовища Тернополя на початку ХХІ століття
Авторы: Дацюк, Наталія Михайлівна
Краткий осмотр (реферат): У статті розглянуто питання розвитку архітектурно-планувальної структури Тернополя початку ХХІ століття і творчість відомих тернопільських архітекторів – представників різних архітектурних шкіл, які вплинули на формування архітектурного та культурного середовища міста в цей період. Висвітлено художній та культурний образ центру Тернополя, сформованого громадськими будівлями, які завжди залишаються композиційними та культурними акцентами вулиць, площ, скверів.; В статье рассмотрены вопросы развития архитектурно-планировочной структуры Тернополя начала XXI века и творчество известных тернопольских архитекторов – представителей различных архитектурных школ, которые повлияли на формирование архитектурной и культурной среды города в этот период. Освещены художественный и культурный образ центра Тернополя, сформированного общественными зданиями, которые всегда остаются композиционными и культурными акцентами улиц, площадей, скверов.; The purpose of the article is to highlight the main trends of the architectural and planning structure of the city of Ternopil, to identify the architectural schools that influenced the formation of the architectural and artistic face of the regional center of the beginning of the XXI century. To describe the creations of the authors involved in the formation of a modern image of the central part of the city.
The modern face of the city is the result of its development for many years. Today, Ternopil is also changing, these changes are due, first of all, thanks to the architects and citizens, who seek to improve the city and its inhabitants.
Ternopil is a city of new ideas, an environment of active cultural and intellectual life. Drama and puppet theaters, the Philharmonic, a number of art galleries – is an artistic Ternopil, a place of great opportunities for those who are ready to take part in the creation of modern history. Consider the work of the famous architects of the city of Ternopil, we will analyze which architectural schools influenced the formation of the architectural, artistic and cultural modern face of the regional center of the early twenty first century, which was marked by a new rise in the construction of the city.
Goy Volodymyr (1957–2014) is a representative of the Lviv Architectural School. His architectural objects have a recognizable face: they are distinguished by their creativity, modern solution of architectural volumes, the use of new building materials and a distinct color scheme.
Golovchak Oleg, representative of the Lviv Architectural School, is the author of such famous buildings as: the Regional Museum of Local Lore (1982), the Academic Theater of Actor and Dolls (1984), the Regional Scientific Library (1986), the Church of the St. Jeosafat (1997), the Diocesan House of Ternopil – Zboriv Diocese of the UGCC (2000). All ideas of Oleg Golovchak have interesting architectural and artistic solutions of buildings. Complex, interestingly decorated facades create a lofty positive mood, have a positive effect on the cultural environment of the city.
Gora Sergiy is a representative of the Poltava Architectural School. The main direction in his work is sacred, public and residential architecture. Church of St. Ioannes Babtista in. Markove Ivano-Frankivsk region, Church of St. Peter in the city of Ternopil, Cathedral of St. Peter and Paul in Chortkiv, Ternopil region – distinctive temples reflecting the influence of folk traditions characteristic of the Poltava architectural school.
Gordiy Igor, representative of the Kyiv Architectural School. Architectural image of the buildings of architect Gordiy. corresponds to modern building technologies, materials and structures. With his participation, the technology of monolithic construction has been firmly established in the Ternopil region for the last 15 years.
Gromyak Bogdan, representative of Lviv Architectural School. The author of the center of European and international studies on the Shevchenko Boulevard, 8 (built in 2000). The house is located in the center of Ternopil. Three floor public building with a mansard floor, which does not violate architectural historical environment of the central part of the city. The main facade is decorated with sculptures on the corners – male, and female figures (sculptor Peter Golovchak), which provide gracefulness, aesthetics and elegance to the appearance of an architectural object.
Netrybiak Mykhailo, a representative of the Lviv School of Architecture, is the author of the Marian Spiritual Center Zarvanitsa in the village of Zarvanitsa, Terebovlyan district. Since the beginning of independence, Netrybiak has focused on the design of sacral buildings.
After analyzing the architectural objects of the famous architects of the city of Ternopil, it can be noted that Lviv architectural school influenced the creativity of architects, since the overwhelming majority are pupils of “Lviv Polytechnic” and Lviv Agrarian University. Their work is connected with the search for Ukrainian national style, in which innovative features are combined with traditional motifs of Ukrainian historical and national heritage.2018-01-01T00:00:00Z