Fine Art and Culture Studies

THE STAGES OF DEVELOPMENT OF CHINESE SYMPHONY IN THE PROJECTION ON THE WORK OF MA SIKONG

Shangming XU — 2025-08-28

The purpose of the article is to periodize the development of Chinese symphonic music in the 20th century and determine the contribution of the outstanding composer, violinist and teacher Ma Sicong (1912–1987) to it. Formed at the beginning of the last century in the Chinese musical space, symphonic music has gone through a difficult path of development. In general, the following stages of the development of symphonic music in the China can be distinguished: the initial period of the formation of symphonic music (1929–1949), its flowering in 1949–1956, the years of stagnation during the Cultural Revolution (1966–1976), the period of openness (1977–1987) as the revival and significant renewal of symphonic music in China, creative searches of the Chinese composers at the turn of the 20th – 21st centuries. Thus, the early stage of the formation of symphonic orchestras in China, although it had prerequisites as foreign symphonic ensembles with the small participation of Chinese musicians, was connected with the training of performing personnel: orchestral instrumentalists and conductors. The process of formation of such collectives and symptomatically the first attempts to write symphonic music dates back to the 1920s and 1930s. The first stage of the rapid development of new symphonic genres in the composer’s creativity and their approbation by national performing forces brings considerable results, the peak of the high rise of which falls on the middle of the century, demonstrating in the 1950s and 1960s important achievements of Chinese symphony. However, the tragic events associated with the Cultural Revolution in China and the rejection of all previous achievements caused a critical, almost 20-year pause in the development of symphonic art. The closure of symphonic collectives, the repression of composers and performers, the forced emigration of many artists testify. Westernization in the plane of Chinese symphonism, which began in the 1970s and 1980s, marked by a new political course of openness. Ma Sikong’s symphonic music serves as a vivid example of the sublimation of national traditions and the foundations of Western symphonic music. The composer’s work was banned until the 1990s, and its real revival came only in the 21st century.

KITCH AS A PHENOMENON OF CONTEMPORARY NATIONAL POP VOCAL ART

Tamara TESLER — 2025-08-28

The purpose of the article is to determine the peculiarities of kitch in the space of contemporary national pop vocal art. The methodology of the article is based on comparative guidelines, principles of the cultural approach, methods of analysis and synthesis, semantic, interpretative and stylistic analysis. The scientific novelty of the article lies in the identification of the characteristic features of kitch in pop music at the conceptual, expressive and communicative levels. Conclusions. It is shown that in the space of pop art, designed for the mass consumer, appears as a reflection of modern trends in the actualization of the national principle and multiculturalism, the mutual influence of academic and popular art. It is revealed that the conceptual horizons of kitch are determines by the reduced embodiment of the national principle at the level of its external markers, represented, in particular, through the prism of both humor and exaggerated sensuality, frankness, sincerity, as well as multicultural intentions reflected in linguistic eclecticism. It is emphasized that the functional circle of kitch is marked by the priority if entertainment and relaxation functions. The peculiarities of musical vocabulary are substantiated – declarative simplification of harmonic and rhythmic organization, repeated intonation clichés in a limited range and with minimalization of intonation movement, predictability of melody, rhythm and harmony development, significance of post-declaration of rhythm. Thesignificance of such features as a factors of emotional manipulation, programming of audience reflection and formation of artistic communication on the basis of emotional and sensual unity of the performer and audience, predictability of perceptual perception, and recipient`s reaction is proved.The author emphasizes the suggestive potential of kitch, which in the communicative dimension if realized by the inviting the audience to perform together and activating the audience`s reaction, and the importance of the visual, performative component, which creates an atmosphere of artificial beauty and makes it possible for the audience to avoid intellectual effort. The author emphasizes the suggestive potential of kitsch, which in the communicative dimension is realized by inviting the audience to perform together and activating the audience’s reaction, and the importance of the visual, performative component, which creates an atmosphere of artificial beauty and makes it possible for the audience to avoid intellectual effort.

MUSICAL THEMATICISM IN SECONDARY INTONATION: PROJECTIONS ONTO THE POP INTERPRETATION SITUATION

Nataliia TORKONIAK — 2025-08-28

The article analyses the phenomenon of musical thematicism in the secondary intonation context, i.e., in the musical interpretation context. The main ideas of number researchers on this issue, primarily V. Moskalenko, are extrapolated to the pop music interpretation situation. The purpose of the article is to determine the basic principles of the transformation of musical thematicism in secondary intonation and to apply the results obtained to the situation of pop music interpretation.The research methodology consists of a combination of analytical, comprehensive and theoretical generalisation methods, implemented through the prism of a systematic approach to the phenomena under analysis. Scientific novelty.The article proposes to introduce into the musicology interpretation context of “matrix information” concept as meaning the information of the original source, which in an intertextual situation serves as the basis for secondary intonation in the interpretive genre’s creation. Conclusion. On the one hand, pop interpretation is a marker of the archetypal basis actualisation of a work, and on the other, it is a way of rethinking it in the present. The repetition of musical and semantic structures inherent in the matrix model, combined with the performerʼs interpretative freedom, creates a dynamic intonation system where constant interaction between the old and the new ensures the continuity and, at the same time, the artistic practice innovativeness. Thus, the pop interpretation, which functions in the secondary intonational model space, not only reflects but also reinterprets the matrix information of the original work. This is a contemporary musical discourse form, within which the artistic text is not limited to a fixed semantic structure, but on the contrary, manifests its openness, capacity for dialogue, transformation and inclusion in new communicative environments. It is thanks to this ability to transform in the act of interpretation that the aesthetic power and cultural vitality of a musical work as an “open text” (U. Eco) is revealed, which, in turn, opens up prospects for further research on the declared topic.

CO-CREATION OF “GERDAN” BANDURA QUARTET AND MILITARY JOURNALIST RUSLAN HANUSHCHAK: EXPERIMENTAL FORMS OF ARTISTIC COLLABORATION

Nataliia FEDORNIAK — 2025-08-28

The article explores the phenomenon of interdisciplinary collaboration in the Ukrainian artistic environment through the creative partnership of the “Gerdan” bandura quartet and military journalist Ruslan Hanushchak. The study analyzes this co-creation in its musical-performative, artistic, patriotic-educational, and emotional-communicative dimensions. The purpose of the research is to examine the specific features of this creative partnership as an example of experimental artistic practice, with an emphasis on the role of music in shaping new cultural-identity meanings within the context of wartime. The methodology is based on an interdisciplinary approach that combines historical, cultural, and musicological analysis, along with elements of media studies. Comparative and contextual analysis are also used to investigate comprehensively the audiovisual nature of the project. The scientific novelty of this research lies in the study of an underexplored artistic phenomenon – the collaboration between professional academic musical ensemble and documentary journalist as an innovative creative practice. The message of this co-creation is expressed through combination of visual imagery and bandura musiс, which is a full-fledged emotional-semantic component of artistic expression. The conclusions highlight the significant potential of such interdisciplinary projects in formation of cultural memory, national identity, and civic consciousness. The works of the “Gerdan” quartet and Ruslan Hanushchak possess high artistic value, representing a synergy of music and documentary as a powerful means of emotional impact, truth- telling, and affirming art as a form of social dialogue. The high professionalism of the bandura performers is confirmed by masterfully selected repertoire, its technical and expressive capabilities, and the emotional intensity of the performance.Such forms of collaboration, especially during wartime, serve as vital tools of national consolidation, patriotic education, and cultural diplomacy.

PECULIARITIES OF THE DEVELOPMENT OF THE ODESA VOCAL SCHOOL IN THE SECOND HALF OF THE 20TH CENTURY (BASED ON THE ACTIVITIES OF THE OPERA STUDIO OF THE A. V. NEZHDANOVA ODESA NATIONAL MUSIC ACADEMY)

Oleksandr FILIPPOV — 2025-08-28

Purpose. The purpose of this study is to provide a comprehensive analysis and substantiation of the leading system-forming role of the Opera Studio of the Odesa National A. V. Nezhdanova Music Academy (ONMA), regarded as a fundamental educational and artistic platform in the formation, further dynamic development, and consolidation of the distinctive features of the Odesa vocal school. The research also aims to clearly define the scope and nature of the Studio’s influence on the formation of the broader artistic landscape of Odesa and Ukraine in general during the second half of the 20th century, a period marked by significant socio-cultural transformations. Methodology.The methodology of the study is based on the integrated application of a number of general scientific and specialized musicological methods, including historiographic, system-analytical, and interview-based approaches, which together ensure a multifaceted examination of the phenomenon. Scientific novelty. The scientific novelty of the findings lies in the first systematic and holistic scholarly interpretation and conceptualization of the contribution of the ONMA Opera Studio to the development and genesis of the Odesa vocal school. The study reveals a connection between the Studio’s functioning and the evolution of stylistic features of the Odesa vocal tradition, enabling us to view it as a logical outcome of deliberate educational and artistic activity. Conclusions. The conclusions of the study emphasize that the Opera Studio of the Odesa National A. V. Nezhdanova Music Academy is not merely an academic educational unit, but a strategically significant institution that has played a key and central role in the crystallization and articulation of the distinctive features, methodological foundations, and performance standards of the Odesa vocal school. Its long-standing activity has not only contributed to the establishment of strong artistic traditions but has also stimulated innovative inquiry in vocal pedagogy, fostering the continuous evolution and refinement of educational approaches. Through its work, the Studio has become a true center for the training of vocal performers of the highest professional caliber, who subsequently represent the Odesa vocal school with dignity on both national and international stages. Its influence can be traced not only in the development of technical mastery, but also in the cultivation of unique artistic characteristics, emotional depth, and a high level of stage culture.

AUTHORSHIP IN ACTION: THE TRANSFORMATION OF THE PERFORMERʼS ROLE IN CONTEMPORARY CHAMBER MUSIC

Sirui HOU — 2025-08-28

Contemporary artistic discourse increasingly reconsiders the role of the performer as an independent subject of the creative process. The shift towards performative, intermedial, and co-creative models has highlighted the need for a systematic analysis of the transformation of the performer’s function in academic music. The aim of the article is to provide a comprehensive analysis of the evolution of the performer’s role in academic chamber music from the late twentieth to the early twenty-first century, with an emphasis on the shift from a text-centered model of authorship to a performative paradigm of co-creation. The research methodology is based on historical-logical, comparative, and system-structural approaches, which make it possible to consider the musical work as a process of interaction between composer, performer, and listener. The typological analysis of empirical cases is conducted through the lens of A. Kubiak-Kenworthy’s seven-level scale of “creative change suggestions.” Scientific novelty. The study offers a systematic overview of three key scenarios in the transformation of the performer’s role in chamber music: (1) the unification of compositional and performative functions in a single individual; (2) the initiative commissioning of new works by performers or ensembles; (3) the delegation of compositional decisions to the performer in conditions of indeterminacy, improvisation, and multimedia. Conclusions.The study substantiates that the modern performer emerges as a full-fledged co-creator of the musical work, who not only realizes but also co-shapes the artistic outcome. This leads to an updated notion of performative agency, which includes mastery of extended instrumental techniques, skills in working with live electronics, stage movement, and more. Special attention is paid to the Ukrainian context, where chamber ensembles act as commissioners of new compositions and active participants in shaping their final sound. The need for further research into performative strategies in chamber music under conditions of interdisciplinary and technological shifts is emphasized.

STYLISTIC FEATURES OF THE SCREEN PRESENTATION OF A MASTER CLASS BASED ON CHRISTIAN BERGER’S DOCUMENTARY FILM “MISSION “MOZART”: LANG LANG AND NIKOLAUS HARNONCOURT”

Olena SHEMIAKINA — 2025-08-28

This study probes stylistic plus methodological attributes of Christian Berger’s documentary “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, which represents the filmic demonstration of a masterclass regarding executing a learned musical piece. It evinces how cinematic techniques recreate the performance process during a masterclass such that it constitutes a singular repository toward presenting professional interpretive practices to a broad audience. This arrangement propagates scholarly musical compositions. It additionally institutes novel avenues regarding interaction linking artists together with listeners. The analysis includes verbal along with nonverbal communication, including facial expressions, gestures, and intonation. Also included are modifying and aesthetic procedures that impart cohesion and energy onto the visual depiction.The screen masterclass configuration broadens typical parameters when it assimilates music, visual representation, and cinematic methods to discern music. They notably stress the synchronization amid musical structure and film editing, which heightens comprehension of the masterclass presentation. Cultivating a pedagogical milieu requires reciprocal discourse between presenters, the study elucidates, and it pinpoints aesthetic and mechanical elements for impactful display on screen. Audiovisual technologies within masterclasses display novel routes forged in musicians’ artistic plus vocational evolution. The documentary masterclass emerges as an innovative instrument of artistic and professional communication.The research aims to identify stylistic features of the screen masterclass in “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, considering musicological and cinematographic components; to reveal how audiovisual elements facilitate perception of the musical text and performance nuances; and to argue that this screen format represents a new model of musical communication combining interaction, performance, and audiovisual media into a holistic interpretive and educational process.Central to this study is the screen masterclass’ dialogic trait because it improves interpretive comprehension of gesticulation, articulation, cadence, force, and expressive aspiration. Digital interface engagement engenders compassion along with introspection. Analytical reasoning is cultivated as people obtain deep understanding into musical form, structure, and individuality.Essentially, the documentary screen masterclass elevates listeners’ musical perception above standard auditory experience. It additionally introduces novel outlooks toward musicological inquiry inside audiovisual mediums.Methodology. A multidisciplinary approach is applied, including stylistic analysis to reconstruct the audiovisual work’s semantic and compositional structure; content analysis of verbal and nonverbal elements to map communicative processes; discourse analysis of performer interactions; and synchronization analysis comparing film editing and camera movement with musical form.Scientific novelty. This research furnishes the initial interdisciplinary scrutiny into a masterclass uniting musicological and aesthetic aspects as “Mission “Mozart”: Lang Lang and Nikolaus Harnoncourt”, a stylistically integrated screen model. For efficacious communication among performer and audience, one could alter the model’s skill. Stylistic along with semiotic attributes of cinematic musical text reveals interpretive elements through audiovisual’s integrated analysis.This analysis underscores the screen masterclass as a revolutionary musicological practice modality and an impetus for novel musical thought and performance culture models. Ample opportunities produce cinematic technique and academic musical perception. Subsequently, investigators are able to improve techniques that are audiovisual. In addition, artists are able to improve readiness via these techniques.Conclusions. The on-screen presentation of a master class in documentary form creates a new type of musical communication, allows for the preservation and dissemination of performance experience in an aesthetic form that performs cognitive and artistic functions.The use of audiovisual technologies in the form of an on-screen master class undoubtedly provides for the expansion of the scope of broadcasting performance experience, as well as multi-level communication between the musician and the audience. The comprehensive approach significantly expands the outlined boundaries of the musicology field.It broadens the scope of the study of music interpretation in the media environment.The rich arsenal of research significantly enriches the outlined intermedia discourse for musicology and audiovisual art. The visual and the sonic are united as a unity in this consideration.

THE PIANO CONCERTO IN THE CONTEXT OF THE EVOLUTION OF PIANO REPERTOIRE

Oleksandr SHUMAKOV — 2025-08-28

This article delves into the history and evolution of the piano concerto, viewing it not simply as an independent genre, but as an integral mirror of the development of all piano creativity. From the first timid steps to the complex multifaceted canvases of modernity, the piano concerto has constantly adapted and transformed, reflecting changes in musical aesthetics, compositional techniques, and, in fact, the capabilities of the instrument itself.The study begins with the origins of the genre, tracing its connection with Baroque concert principles and the early piano experiments of K. F. E. Bach and J. Haydn. Particular attention is paid to the formation of the classical piano concerto in the work of W. A. Mozart, who laid the fundamental foundations of the form and the interaction of the soloist with the orchestra. Next, we consider L. Van Beethoven, whose brilliant legacy brought the genre to a new level of symphonization and dramatic depth, significantly expanding the expressive capabilities of the piano.The core of the article is devoted to the Romantic era, which became the golden age of the piano concerto. It analyzes how Romantic composers, in particular F. Chopin, R. Schumann, F. Liszt, used the concerto to demonstrate virtuosity and embody the most subtle emotional nuances, as well as how J. Brahms enriched the genre with monumentality, lyricism, and national flavor. It is emphasized how this period saw an intensive development of piano texture, which included new techniques of octave technique, arpeggios and pedalization, which became an integral part of the virtuoso style.A separate section is devoted to the transformations of the piano concerto in the 20th century. The searches and experiments of B. Bartók, who introduced elements of neoclassicism and folklore motifs, are considered. The influence of jazz intonations in the works of J. Gershwin is analyzed. The avant-garde trends that led to the expansion of the sound range and new performance techniques are also studied.The final part of the article is devoted to the contemporary piano concerto, where postmodern approaches, minimalism, sonoristics, and the influence of electronic music prevail. The contribution of Ukrainian composers, such as L. Kolodub, M. Skoryk, and E. Stankovych, to the development of this dynamic genre is emphasized.In conclusion, the article demonstrates that the piano concerto is not only a landmark genre of academic music, but also a unique testament to the continuous evolution of piano expression, reflecting the most important stylistic and technical changes over the centuries.

SYMPHONIC WORKS BY IVAN NEBESNYI: A GENRE AND STYLE ASPECT

Olena YAKYMCHUK — 2025-08-28

Ukrainian contemporary symphonic music demonstrates genre and style diversity. The opuses of Ukrainian composers present a wide range of themes and images that raise complex issues of human existence, historical events, national memory, war, etc. An important place in Ivan Nebesnyi’s oeuvre is occupied by symphonic music. The author successfully combines the traditional style with the contemporary musical language in it. All of the composer’s works retranslate artistic and ethical messages to society about Ukrainian culture.The purpose of the article is to determine the stylistic and genre diversity of Ivan Nebesnyi’s symphonic works.Methodology. Achieving the goal involves a comparative approach, genre and style analysis.Scientific novelty. The symphonic music of Ivan Nebesnyi is presented in the musicological discourse for the first time.Two well-known works by the composer are presented in the context of genre and style analysis. Conclusions. The symphonic music of Ivan Nebesnyi covers a wide range of artistic images, demonstrates genre and style diversity. In his works, the composer raises complex philosophical issues related to the historical past and present, reveals the inner world of person, and vividly presents the musical folk heritage. In his symphonic music, Ivan Nebesnyi successfully combines the achievements of national and European music. The Ukrainian folk melodies are presented in the bright timbre palette of the symphony orchestra. The arrangements of well-known carols and shchedrivkas sound in the stylistics of European Baroque and Classicism (“Christmas Symphonies”). Following Vasyl Stus, in “A Letter to You” the composer chose the means of contemporary musical language. In any style, Ivan Nebesnyi appears to be an unsurpassed master of orchestration, who embodies the actual issues of life with timbre and intonation. Intonational narratives become obvious to the listener.

CHU WANGHUA’S BARCAROLLE: GENRE TRANSFORMATION AT THE CROSSROADS OF CULTURES

Jinlin YANG — 2025-08-28

The fundamental principles of the barcarolle genre are briefly outlined. It is noted that the genre, of European origin, gradually gained popularity across diverse musical cultures due to its vivid imagery, rhythmic distinctiveness, and capacity to convey a lyrical mood. Musically, the barcarolle is based on a steady metrorhythmic pulse and melodic lines that imitate the undulating motion of waves, serving as a means of expressing dreaminess, calm, or emotional depth. The barcarolle functions as a universal mode of emotional expression, capable of adapting to various cultural contexts.This study aims to trace the transformation of the barcarolle genre within the framework of cultural synthesis, using the work of Qu Xiaosong (Chu Wanghua) as a case study. The analysis focuses on the expressive means employed in the composition and the specific integration of European traditions with national intonational characteristics.The research methodology combines interdisciplinary, comparative, and analytical approaches. The primary methods used include historical-cultural analysis, comparative-stylistic analysis, and musicological examination. This methodological foundation allows for a comprehensive exploration of the barcarolle as a phenomenon that unites European origins with national musical identity.Scientific Novelty. For the first time, a comprehensive analysis of Chu Wanghua’s barcarolle is undertaken, revealing the genre’s transformation at the intersection of Eastern and Western traditions.Conclusions. It is established that Chu Wanghua’s barcarolle exemplifies a subtle cultural synthesis in which the European genre form is transformed under the influence of Chinese musical tradition. The piece is distinguished by its pentatonic modality, wave-like tempo-rhythmic flow, and multilayered texture, which together create a contemplative, philosophical atmosphere. The symbolism of water, romantic-impressionistic features, and national lyricism are intertwined with arpeggio and arpeggiated figures, generating an illusion of space and movement.In 20th-century Chinese music, and in Chu Wanghua’s barcarolle in particular, the genre acquires a fundamentally new quality. Departing from the classical 6/8 meter in favor of 4/4, the composer employs triplets to reproduce an internal pulse that maintains the swaying effect. This choice is driven not only by stylistic modernization but also by the profound philosophical significance of the water motif in Chinese culture.

THE ORIGINS OF UKRAINIAN STAND-UP AS A CULTURAL PHENOMENON

Oleksandr AVDEIEV — 2025-08-28

The aim of this article is to study the influence of sociocultural, political, and media factors on the formation and development of Ukrainian stand-up comedy as an independent genre of comic art, as well as to identify its historical origins in the national cultural context. The relevance of the study is due to the rapid growth in popularity of stand-up comedy in Ukraine, its role in the formation of new cultural identities, and the need for scientific understanding of this phenomenon in the light of social transformations, particularly in the context of war. Research methodology. Attention is paid to the American experience of stand-up comedy, in particular through the research of authors such as L. Mintz, M. Douglas, W. Turner, J. Boskin, as well as the peculiarities of this genre in a multicultural society. The analysis examines how stand-up comedy performs ambivalent social functions, ranging from emotional therapy to an instrument of social control. Scientific novelty. Ukrainian stand-up comedy is considered as a new phenomenon that has evolved from a borrowed model to a full-fledged artistic genre with a distinct national context. The stages of its formation are traced: from the first media projects of the early 2010s to the modern industry with an extensive infrastructure of clubs, shows, online platforms, and charitable initiatives. The article examines the contribution of key figures in Ukrainian stand-up comedy – Serhiy Lipko, Anton Tymoshenko, Lera Mandziuk, Vasyl Baidak, Sviatoslav Zagaiyevych and others – to the development of the genre and its aesthetic, ideological and linguistic transformation. Conclusions. The article examines the impact of social changes – in particular, the full-scale invasion of Russia – on the content of stand-up comedy, its function as an instrument of cultural resistance and a means of rethinking traumatic experiences. The main trends in the development of the genre are highlighted: from the regionalisation of the linguistic palette to the formation of an alternative humorous discourse aimed at young people and a critically thinking audience. In conclusion, the author emphasises the role of stand-up comedy as an important factor in national self-identification and public reflection on social reality.

MEDIA AS AN ENVIRONMENT FOR IDENTIFICATION: GLOBAL CHALLENGES AND LOCAL RESPONSES

Maryna BAIDA — 2025-08-28

The aim of this article is to highlight how information warfare (using fake news techniques) and cultural appropriation are jointly reformatting the processes of individual and group identification in a globalised media environment. Methodology.The views of media researchers such as M. McLuhan, N. Postman, and N. Coldry are combined with contemporary developments in the field of strategic communication and disinformation. The concepts of authors such as bell hooks and R. Rogers have made it possible to interpret cultural media practices as elements of the broader logic of the global cultural industry, where symbolic capital is transformed into commercial profit. Scientific novelty. By combining research on disinformation and criticism of cultural appropriation, fields that are usually considered separately, a model is proposed that explains how epistemic destabilisation and symbolic commercialisation are interrelated. This concept of a ‘double helix’ explains why the threat to identity cannot be countered in a fragmented way: cognitive and cultural dimensions must be addressed simultaneously through interventions that change the media environment itself. Conclusions. Contemporary media have become an active environment where identities are simultaneously formed and destroyed. The two main threats – information warfare and cultural appropriation – form a ‘double helix’: the first undermines trust in facts and shared narratives, while the second commodifies symbols taken out of context, reinforcing cognitive ruin with new manipulative images. An effective response must be systemic: media literacy as civil defence, traceable digital heritage licences and transparent platform algorithms are changing the very rules of information and meaning circulation.The proposed model integrates research on disinformation and appropriation, outlines the cumulative risk, and points to the need for further monitoring, especially given the growth of generative AI. Protecting identity requires the simultaneous protection of truth and symbols, which is only possible through an ecological rethinking of the media space.

COLLISION OF PRIVATE AND PUBLIC SPACES IN A POST-SOVIET CITY: METHODOLOGICAL ANALYSIS PROSPECT

Yevheniia BUTSYKINA — 2025-08-28

Aim of the study. The aim of this study is to provide an aesthetic analysis of the experience of the collision between private and public in the urban space of a post-Soviet city, specifically Kyiv, through the lens of embodied sensory (synesthetic) perception of the urban landscape. The main focus is on vernacular practices and everyday interventions that manifest in the aesthetic fabric of the city as a consequence of historical, social, and cultural stratification rooted in the Soviet and post-Soviet periods. Methodology. The research is based on an interdisciplinary approach that combines philosophical-aesthetic analysis, ecological aesthetics, somaesthetics, phenomenology, and urban studies. The primary method employed is qualitative aesthetic observation – urban walking – during which visual and spatial tensions between the private and the public are documented. The analysis is enriched by engaging with key theoretical perspectives (A. Carlson, P. von Bonsdorff, R. Shusterman, A. Berleant, M. Foucault, M. Heidegger, A. Madanipour), which allow the urban space to be interpreted as an aesthetic environment with ethical and political dimensions. Scientific novelty. The novelty of the research lies in the proposed combination of ecological aesthetics with the phenomenological interpretation of the urban landscape in the context of post-Soviet transformation. For the first time, the specificity of the synesthetic experience of a Ukrainian city dweller is analyzed as a method for identifying aesthetic conflicts between private and public spheres. The author introduces a classification of such conflicts, including: appropriation, fragmentation, layering, and the intrusion of private narratives into public art.Conclusions. Urban space in the post-Soviet context is a complex, multilayered environment where the clash between private and public is expressed not only functionally but also in deeply aesthetic forms. The aesthetics of urban walking, synesthetic perception, and analysis of vernacular practices provide tools for capturing and critically reflecting on these processes. In this context, aesthetics is not a neutral category – it is inherently linked to the social, political, and cultural dimensions of contemporary urban life.

RUSSIAN-UKRAINIAN CULTURAL CONFLICT: WAR AND/OR GENOCIDE?

Rinat VALIEV — 2025-08-28

The Russian-Ukrainian cultural conflict has been going on for a long time and is essentially civilizational, because Russia cannot develop as a full-fledged civilization with statehood visions and traditions without enslaving Ukrainians and annihilating their national identity. The purpose of the article is to analyze the Russian – Ukrainian conflict as a cultural war and cultural genocide where the aggressive-enemy side is Russia which for many years, including the current full-scale war, has been trying to enslave Ukrainian lands and destroy manifestations of national, cultural, and political identity on them. Methodology of the research is based on the principles of objectivity, specificity, systematic analysis of the object of study, in the contradictory unity, interdependence and development of all its components, as well as using two approaches: neo-evolutionism in considering the genesis and dynamics of cultural conflicts and cultural anthropology in creating a cultural model of the Russian-Ukrainian confrontation. The scientific novelty of the work lies in the understanding of the Ukrainian-Russian cultural conflict through the prism of the categories of “cultural war” and “cultural genocide”. Conclusions. The declared struggle of the Russian authorities against “neo-Nazi gangs” conceals Russia’s Nazi colonialist goals for Ukraine, which, according to kremlin ideologues, should not exist as a separate political and cultural entity, and attempts to prevent this can be confidently qualified as a cultural war and cultural genocide of Ukrainians. And this civilizational conflict has actually existed for centuries, despite its acute phase: it all began with an ideological historiographical project, when, by order of Catherine II, a new framework for the history of the Russian Empire was constructed by “appropriating” the state victories and traditions of princely Rus (Kyivan state). It is proved that the Russian-Ukrainian conflict at different historical stages, especially in the format of a full-scale invasion, acquires signs of cultural genocide.

CULTURAL SAMPLING IN THE STRUCTURE OF CULTURAL ANALYTICS BY LEV MANOVYCH

Olena VENGER — 2025-08-28

Every year, the volume of cultural information increases worldwide and this process actualizes searching of a methodology which could enable database culture or “cultural archives”. Lev Manovych, American artist and theorist of digital culture, has managed to propose such an interdisciplinary project which he called “cultural analytics”.The purpose of the article is the analysis of the cultural sampling as a component in the cultural analytics structure by Lev Manovych. The methodology of the research is based on the structural analysis with the help of which can be distinguished and conceptualized cultural sampling as a part of the scientist’s cultural analytics and also on the methods of analysis and synthesis, thanks to which the potential of the cultural sampling and its limitations was considered.The scientific novelty of the work is that it is the first to consider cultural sampling as a methodological approach within the ideology of cultural analytics, which helps to create detailed maps and study millions of cultural artifacts. Conclusions. Cultural sampling is an important procedural and structural part of the cultural analytics by Lev Manovych that involves data sampling, without which it is impossible to recognize regularities in the digital cultural space. While the work on the creation of a general theory and methodology of representative cultural sampling continues, the scientist suggests using stratified sampling, when we divide the data set into categories of interest, form a sample of representatives of each category, and combine them. Lev Manovych combining common views of culture and trying to reconcile the main lines of the natural sciences and humanities argues that cultural analytics should pay equal attention as to the regularities so as individual artifacts, experiences, and interactions that generate these patterns.

THE PROBLEM OF UKRAINE’S REPRESENTATION IN GLOBAL CINEMA: AN ACADEMIC DISCOURSE

Oleh VERBIN — 2025-08-28

In the article, the current state of research on the representation of Ukraine in global cinema is examined, with particular attention to the impact of audiovisual art on the formation of mass consciousness and the international image of the Ukrainian nation. The study highlights how cinematic images shape viewers’ perceptions of the “Other,” especially in relation to the cultural, political, and historical context of Ukraine.The purpose of the paper is to systematize academic approaches to the study of Ukrainian imagotypes in foreign cinema and to outline the main types of representations found in the works of both Ukrainian and international scholars.The article also analyzes current trends and shifts in cultural narratives related to Ukraine. Methodology. To achieve this aim, the study employs a combination of methods, including a cultural studies approach, systemic analysis, empirical observation, and content analysis. These tools enable a nuanced interpretation of filmic texts and their broader discursive implications.Scientific novelty lies in the systematic generalization of scholarly sources that address the representation of Ukraine and Ukrainians in audiovisual media–materials that had previously been studied in a fragmented manner. The article also identifies three dominant research perspectives (Soviet-Russian, Polish, and Hollywood), each offering insight into how the image of Ukraine has evolved from stereotypical depictions to more multifaceted portrayals.Conclusions. In the academic discourse, a majority of studies prior to 2014 focused on negative or superficial representations of Ukraine. However, since the Euromaidan, there has been a growing interest in Ukrainian themes, accompanied by partial shifts in visual stereotypes. Researchers note the emergence of more positive portrayals–such as heroic narratives and depictions of the struggle for independence–while simultaneously emphasizing the persistence of entrenched negative tropes, especially in Russian cinema. The findings indicate that outdated and stereotypical images continued to dominate up until 2014. The article advocates for deeper research and the creation of objective representations that can reflect the true potential of Ukrainian culture.

STUDIO PRACTICE AND SPONTANEITY: A CULTURAL MODEL FOR THEATER ARTIST TRAINING IN THE 21ST CENTURY

Volodymyr HORYSLAVETS — 2025-08-28

The purpose of the work is to reveal the cultural foundations of the studio model for theater artist training as an effective mechanism for the formation of “spontaneous directing,” capable of withstanding the algorithmic media environment and military turbulence of the 2020s, and also to show that the theater-studio functions as a space of cultural resistance, where the act of creativity becomes an act of ethical choice. The research aims to build a theoretical model that describes the mechanisms of transforming individual creativity into collective creativity without losing authorial specificity, as well as to identify indicators of studio practice effectiveness in the conditions of mediatized culture of the 21st century.Methodology – interdisciplinary theoretical-analytical synthesis based on cultural hermeneutics, discourse analysis, and comparative-historical method. Key categories are conceptualized through the lens of G. Deleuze and F. Guattari’s concepts (“machines of subjectivation,” “plateau,” “minor art”), correlated with laboratory practices of R. Lepage’s Ex Machina, Zh. Bortnik’s concept of liminal strategies, and the internal dynamics of the Kharkiv studio movement.An additional analytical perspective is provided by the notion of “alternative reality of theater,” considered as a mechanism for transcending the total algorithmization of mass culture.Scientific novelty – introduction of the category “spontaneous directing,” which describes the synergetic ability of a director to instantly combine intuitive decisions with reflexive cultural code, formed specifically in the studio ecosystem; revealing the studio as a resonant network of “plateaus,” where authorial subjectivity is constructed through the interaction of bodily-spiritual practices (hatha yoga, pranayama, meditative techniques), esoteric-philosophical discourse, and polyfunctional work structure, as well as formulation of measurable indicators of studio model effectiveness and clarification of cultural foundations that ensure this dynamics in the conditions of mediatized culture.Conclusions – the studio environment provides a bifurcation field that accelerates the formation of directorial individuality compared to the university educational model; the mechanism of creative selection is carried out through horizontal role distribution and project responsibility, creating compensatory immunity to institutional pressure; inclusive filtering based on the principle of “desire instead of diploma” generates social mobility and increased cultural resonance; spontaneous directing as systemic composition in real time fundamentally differs from traditional improvisation; further research should be directed toward developing a quantitative index of studio effectiveness and adapting the obtained results to standards of higher arts education.

TRANSFORMATIONS OF INTELLECTUALS’ ACTIVITIES IN THE PUBLIC SPACE OF MASS MEDIA

Arsen HREBENIUK — 2025-08-28

The article analyzes the transformation of the role of the intellectual in the context of the information society and digital culture. The aim of the study is to define the specifics of intellectuals’ activities in the media space during the period from the 2000s to the 2020s. The analysis focuses on the significance of intellectuals’ engagement in public discourse and their influence on shaping public opinion, disseminating scientific knowledge, and strengthening critical thinking in the information age. It is noted that there are clear criteria for identifying an individual as an intellectual, namely the ability for critical reflection, the pursuit of truth, communicative activity, social responsibility, the capacity to act independently of public opinion, and to influence societal attitudes toward pressing issues. The study examines historical forms of intellectual communication – from public lectures of the 19th century to modern video platforms and social networks. The article demonstrates the impact of digital culture on the transformation of public intellectual activity, particularly the emergence of «media intellectuals» and anonymous science communicators. It is noted that while mass media provide opportunities for self-education alongside formal education, the rise of pseudo-intellectualism and anti- intellectualism poses a serious contemporary problem, leading to inadequate responses to societal threats. Modern digital media allow for much more detailed control over the dissemination of information compared to traditional media.Therefore, intellectuals must present their work across multiple platforms to engage more effectively with their audiences.The article emphasizes the need to shape a positive image of the intellectual as an active, communicative participant in cultural dialogue and a catalyst for civic consciousness. In this sense, the public intellectual is not only a source of knowledge but also a bearer of values, an analyst of change, and a visionary who outlines potential future scenarios.

LOGIC, MUSIC AND RHETORIC AS A MEANS OF SHAPING PERSONALITY AND ITS LIFE ACTIVITY IN THE CONTEXT OF CONTEMPORARY SOCIO-CULTURAL TRANSFORMATIONS

Mariya KALASHNYK — 2025-08-28

The aim of the article is to analyze the use of logic, rhetoric, and music as tools for shaping the modern individual, their competencies, skills, and behavior within the contemporary socio-cultural space, the formation of public opinion, and their influence on social processes in today’s world.Methodology. Achieving the stated aim involves the use of general scientific, analytical, and comparative-historical methods to study the influence of the science of logic on personality development. The method of discourse analysis allowed the examination of rhetoric in the context of power, ideology, and its influence on the formation of public opinion. The phenomenological method was used to analyze the subjective experiences of individuals in perceiving music and rhetorical texts. The analysis of social networks included studying the influence of specific musical and rhetorical works, disseminated in media, on the behavior and responses of society and its individual members. Content analysis was used to examine the lyrics of songs, speeches, and addresses for the presence of particular ideas, emotions, ideologies, and to assess group discussions on certain musical or rhetorical topics to analyze collective opinion. These methodological tools made it possible to understand and trace the mechanism by which logic, rhetoric, and music influence personality development in the modern era.Scientific novelty lies in identifying a new mechanism by which logic, music, and rhetoric contribute to the formation of new competencies in individuals within contemporary society.Conclusions. In the context of contemporary socio-cultural transformations, the components of the “seven liberal arts” – logic, music, and rhetoric–continue to play a crucial role in shaping a harmonious, conscious, and creative personality of the 21st century. The interaction of these disciplines contributes to the development of critical thinking, emotional intelligence, communication skills, social adaptability, and self-expression in the modern individual. Logic teaches structured thinking and analysis; rhetoric fosters the ability to persuade, argue, and influence public opinion; and music enables deeper self-understanding and perception of the world through emotions, symbols, and cultural codes. In today’s information society, where interdisciplinary approaches are increasingly important, the synthesis of logic, rhetoric, and music ensures the effective formation of life competencies and encourages active participation in socio-cultural processes.

ON THE QUESTION OF PARODY AS A FORM OF CULTURAL CRITICISM (FOREIGN AND UKRAINIAN CONTEXTS)

Andrii KASIANENKO — 2025-08-28

The etymology of the parody genre not only emphasizes its ancient origins and long history but also hints at its ambiguous positioning as a new text and reflection on the original. Although parody has always been popular in art and media, its presence on the Internet and in the digital space has grown manifold in recent decades. The purpose of the article is to analyze parody as a form of cultural criticism, taking into account the specifics of foreign and Ukrainian contexts of parody. The methodology of the research is based on a cultural approach that allows for the conceptualization of parody as a form of cultural criticism, an interpretive method that helps to reveal the influence of parody on the change and emergence of cultural stereotypes, as well as the systematization and generalization of foreign and Ukrainian experience of parody. The scientific novelty of the work lies in the fact that it is the first time in the Ukrainian academic discourse that the critical and cultural potential of parody is considered. Conclusions. Parody is a complex, multifaceted, and multicultural phenomenon that can take many forms, from satire and irony to absurdity and ridicule, and can be used to achieve a number of goals, including social criticism and entertainment, undermining cultural norms and values, and more. In this sense, despite its definition as a form of literary or artistic expression that imitates, exaggerates, or ridicules the style, tone, or content of another work or genre, postmodern parody also proves to be a powerful tool for conveying an alternative vision, criticizing dominant narratives, and exposing hypocrisy. It can also play an important role in shaping cultural stereotypes, both positive and negative. It is used both to undermine dominant cultural stereotypes and to help perpetuate and reinforce negative stereotypes. In general, there are three scenarios of parody as cultural criticism: reinforcement, challenge, and creation of new stereotypes. In general, there are three scenarios of parody as cultural criticism: reinforcement, challenging, and creating new stereotypes.

IDENTITY CRISIS IN THE DIGITAL AGE: BETWEEN AUTHENTICITY AND AI ALGORYTHMS

Viktoriia OKHRYMOVYCH — 2025-08-28

The purpose of the article is to analyse the impact of the virtual environment of the digital age on identity transformation and to conceptualise the role of artificial intelligence in shaping new representations of both authentic and algorithmically constructed selfhood within digital culture. Achieving this goal involves solving the following tasks: highlighting the importance of artificial intelligence algorithms employed in AI applications; examining the peculiarities of constructing digital identity as an example of a communicative simulacrum in the virtual space of culture; understanding the risks of losing personal identity in the context of algorithmisation of social and communicative practices, considered as a key issue in the of formation of identity in the virtual environment of digital culture.The research methodology is based on the principles of cross-culturalism and combines cultural, psychological, and philosophical analysis, empirical (experimental) and content analysis of the latest AI applications as examples of a communication simulacrum. The scientific novelty. For the first time, the specifics of the impact of digital identities and the transformation of communication in artificial social AI networks are analysed, and for the first time, an experiment with the abandonment of digital presence as a tool for studying anthropological invisibility in virtual space is conducted.The conclusions state that, based on the results of a cultural study of the peculiarities of the formation and spread of the trend towards digital identities and the creation of artificial media, as well as from the standpoint of the theory of the dead Internet, humanity is moving towards an era of identity crisis. AI social networks-simulacra are replacing live communication, creating the illusion of sociality, often based on fictitious or manipulative algorithms. An experimental study has shown that the loss of digital representation leads to social exclusion in digital networks. New AI applications, such as SocialAI or Butterflies, are transforming the idea of subjectivity: personality is no longer stable, but is constructed according to audience expectations and trends.

CULTURAL EXPERTISE AND CULTURAL ANALYTICS AS SOCIO-CULTURAL PRACTICE IN CONDITIONS OF INSTABILITY

Tamila PRYHODA-DONETS — 2025-08-28

Purpose of the article. This article aims to conceptualize cultural expertise as a multidisciplinary and integrative analytical practice that is transforming under the conditions of instability, risk, and stochasticity inherent in contemporary culture. Methodology. The research is based on an interdisciplinary approach that combines philosophical and cultural studies methodologies, hermeneutic concepts, the sociology of knowledge, theories of the risk society (U. Beck, N. Luhmann, A. Giddens), synergetic frameworks, concepts of simulation (J. Baudrillard), liquid modernity (Z. Bauman), and contemporary cultural analytics. The paper explores paradigm shifts in the understanding of expert knowledge within the humanities.Scientific novelty. The novelty lies in the interpretation of contemporary cultural expertise as a heuristic and interpretive practice that operates in conditions of risk, fragmentation, and uncertainty. It is demonstrated that in the current epistemological context, expertise no longer functions as a stable assessment tool but transforms into a context- sensitive, nonlinear, and interpretive activity. Special attention is paid to phenomena such as “liquid modernity,” cultural stochasticity, risk, and simulacra, which redefine the nature of expert judgment. The argument is made that cultural expertise must account for the multilayered complexity and fragmentation of culture, employing interdisciplinary methods as well as affective and non-verbal modes of cognition. The expert is viewed not as an arbiter of truth but as an interpreter within a field of multiple meanings, while cultural analytics should focus on mapping complexity rather than reinforcing fixed norms. Emphasis is also placed on the importance of existential responsibility, intuition, and creativity in expert practice. A new model of the cultural analyst is outlined–as a transdisciplinary integrator and facilitator of meaning- making within a turbulent socio-cultural environment.Conclusions. In the context of socio-cultural instability and sweeping transformation, cultural expertise is acquiring new forms: it is mobile, intertextual, and transdisciplinary, capable of interpreting complex cultural processes in their diverse manifestations. Methodological openness, existential responsibility, and critical thinking become essential conditions for effective analytical work. This form of expertise not only orients one within the chaos of culture but also initiates new processes of meaning-making.

DIGITUS MOTION AS INFORMATIONAL AND COMMUNICATIVE INTEGRITY OF FORMATION

Andrii RUDYI — 2025-08-28

Relevance of the problem. The neologism “digitus motion” allows you to expand the category of digital to aesthetic, to define motion design as an incentive, one of the spheres of technologically defined animation or image dynamics, the integrity of the informational and communicative space. The purpose of the article is to define the phenomenon of motion design as the digital integrity of the design process. The research methodology is determined by polysystemic and comparative approaches in the context of motin digital transformations of visual information. Scientific novelty of the article. The font style, its size, characteristic outline, deformation provide opportunities for drawing attention to the text, accentuation of verbally defined verbal content. Programs that are important for motion design (Adobe Photoshop, Adobe Illustrator, Adobe After Effects, Adobe Premiere Pro) make it possible to effectively restructure, layer information, and carry out a certain palimpsest in visual space, where perceptual dynamics is formed as the movement of objects to the center or from the center, to the corners, to the edge, going beyond the conventional frame or format. That is, everything that was initially implemented as a drawn movement and its transformation in the form of animation using kinema, passes into the system of automatic kinematics, which is implemented by programs. Conclusions. There are strategies for presenting information: precedent, balance, and management. Precedent – each element of media technology becomes a new concept of information transmission, which sharpens its communicative essence. Balance – finding homeostasis, equilibrium between different communicative flows. Management – managing projects, flows of technologically implemented information substructures. Motion design as a functional system is focused on aesthetic information construction, which is presented in the context of information transmission.

FORMATION OF MORAL AND ETHICAL VALUES IN YOUTH WITHIN THE AMERICAN CULTURAL AND RELIGIOUS PARADIGM

Nataliia STOLIARCHUK — 2025-08-28

This article investigates the complex process of forming moral and ethical values among youth in the United States of America. It examines the influence of the dominant cultural paradigm, characterized by individualism, consumerism, and pluralism, as well as the role of various religious institutions in this process. The analysis covers both potential conflicts and the synergy between these two powerful socializing forces in the upbringing of the younger generation.The article aims to analyze the process of forming moral and ethical values in contemporary youth within the context of the American cultural and religious paradigm. The study seeks to identify the key factors influencing this process and their impact on the value orientations of young people. Special attention is given to the interaction of secular and religious aspects in shaping moral worldview, as well as the influence of mass culture, educational institutions, and family upbringing.To achieve this goal, a comprehensive methodology was applied, including: theoretical analysis (studying and systematizing scientific literature, philosophical and theological concepts related to morality, ethics, values, and the specifics of the American cultural and religious paradigm); comparative-historical method (researching the evolution of moral and ethical values in American society and identifying historical prerequisites for contemporary trends); sociological analysis (utilizing data from sociological surveys, statistical reports, and other empirical materials concerning the value orientations of American youth); content analysis (analyzing religious texts, journalistic materials, and works of mass culture (films, TV series, music) that reflect moral and ethical dilemmas and propose certain value models); and systemic approach (considering value formation as a complex dynamic system in which various elements interact (family, school, church, media, social networks)).The scientific novelty of this research lies in constructing a comprehensive, holistic view of the process of forming moral and ethical values in youth under the multifaceted influence of the American cultural and religious paradigm.The study expands the understanding of the impact of modern trends in mass culture, digital technologies, and social networks on youth value orientations, an area that has been insufficiently covered in existing scientific literature. It also deepens the understanding of the dynamics of relationships between secular educational systems and religious institutions in shaping moral worldview, taking into account contemporary transformations of religiosity in the USA. The results of this research can be used to develop effective programs and strategies aimed at forming and supporting moral and ethical values in youth environments, in both educational and religious spheres.

DOCUMENTARY CINEMATOGRAPH AND ACTIONISM AS COMPONENTS OF UKRAINIAN CULTURAL DIPLOMACY IN THE TIMES OF THE FULL-SCALE WAR

Oleksiy KHOVPUN — 2025-08-28

The Purpose of the article is to identify the features and functions of visual arts of synthetic nature (using the example of cinema and actionism) as a component of the contemporary Ukrainian cultural diplomacy. The methodology of the research. The article is interdisciplinary in nature, synthesizing data from philosophy, history, cultural studies, and art history. Historical and comparative methods and a hermeneutic approach are used. The scientific novelty of the work lies in clarifying the place of visual arts of synthetic nature in the presentation of the contemporary problems of Ukraine at the international level. Conclusions. Cultural diplomacy is a powerful tool for familiarizing the world with the history and current state, achievements, problems and prospects of Ukraine. In the current situation of war, cultural diplomacy becomes a significant factor in building empathy and international support, and therefore is a factor in preserving Ukrainian identity and opposing imperial narratives. Therefore, joint art projects with foreign partners, as well as continuous presentations of works of contemporary Ukrainian art, should be considered as one of the priority areas of modern cultural life in Ukraine. In particular, this applies to those art forms that provide the most truthful and visual information and provide the highest degree of emotional impact on the audience. Such forms include cinema, primarily documentary, as well as action art. Since the processes of creating new artistic artefacts and introducing them to global recipients are ongoing, they require attention from cultural theorists who interpret the essence and trends of both the works of art themselves and their role in modern cultural diplomacy.

MUSEUM EXHIBITION “SHIRT IN TREND” AS A MEANS OF REPRESENTING CULTURAL HERITAGE MANAGEMENT

Svitlana CHYBYRAK — 2025-08-28

The purpose of the article is to analyze the exhibition “Shirt in Trend” in the Volyn Museum of Local Lore as an example of cultural heritage management through the preservation, interpretation and updating of traditional Ukrainian clothing.The methodology of the research. The study uses an interdisciplinary approach that combines methods of cultural, museum, socio-communication and ethnological analysis. The method of publication analysis, content analysis in social networks, as well as elements of a case study, which allows us to consider the exhibition as a separate example of cultural heritage management.The scientific novelty of the article lies in the fact that the exhibition “Shirt in Trend” in the Volyn Museum of Local Lore is considered for the first time as an example of the implementation of management practices in the field of cultural heritage, in particular through the prism of its preservation, interpretation and updating. The study proposes an innovative approach to the analysis of museum exhibitions as a form of strategic communication between the institution and the community, which contributes to the formation of an ethical attitude towards traditional culture and the support of national identity. A feature of the work is the emphasis on the fact that museum exhibitions in Ukrainian scientific discourse are rarely analyzed from the perspective of cultural heritage management, and this aspect itself is often considered insufficiently relevant.Conclusions. The exhibition project “Shirt in Trend”, implemented by the scientific and exhibition department of ethnography and folk crafts of Volhynia of the Volyn Museum of Local Lore, became an example of successful interaction with the community. It aimed not only to popularize and preserve Ukrainian traditional clothing, but also to form a responsible and ethical attitude towards cultural heritage, contributing to the support of national identity.The exhibition was also considered an effective educational platform that attracted a wide audience and helped encourage them to interact with traditional culture. By examining the “Shirt in Trend” exhibition as an example of the implementation of management practices in the field of cultural heritage, this study highlights that museum exhibitions can be a powerful tool for the actualization of traditional culture.

ARTISTIC INTERPRETATION OF CHAOS THEORY

Petro SHOPIN — 2025-08-28

The article explores the artistic interpretation of chaos theory as an interdisciplinary phenomenon emerging at the intersection of the natural sciences, philosophy, aesthetics, and cultural practice. The focus is on identifying how ideas of complexity, nonlinearity, fractality, and deterministic chaos serve not only as themes in art but as structural and conceptual principles in the creative process. The purpose of the study is to analyze the artistic potential of chaos theory as a means of shaping new aesthetic sensitivity that responds to the challenges of technological instability. The article examines how the core concepts of chaos theory–sensitivity to initial conditions, self-similarity, and the interplay of order and unpredictability–are integrated into artistic strategies across various art forms.The research methodology is based on an interdisciplinary approach that combines cultural analysis, elements of complexity philosophy, emergence theory, and historical-contextual interpretation of artistic practices. The study discusses examples from contemporary art, music, and visual culture, including the works of Jackson Pollock, Iannis Xenakis, and Refik Anadol, as well as algorithmic and generative models built upon the principles of chaotic systems. The scientific novelty lies in the formulation of chaos theory as a full-fledged cultural concept that influences the structure of artistic thinking in the age of postmodernism and digital transformation. For the first time in Ukrainian academic discourse, the study synthesizes ways in which the concepts of complexity are embodied in contemporary art, where chaos functions as a structural foundation rather than a destructive force. Conclusions. Chaos in art becomes a constructive factor that enables a departure from classical notions of order, harmony, and composition.In an era of dynamic change, instability and unpredictability emerge as sources of creativity. Thus, chaos theory opens new horizons for aesthetic knowledge, modeling of the creative process, and rethinking the role of art in a complex world.

PSYCHOLOGY OF ARTISTIC CREATIVITY IN THE FINE ARTS

Mykola BOLYUKH — 2025-08-28

The aim of the work is to study the psychology of artistic creativity in the visual arts as a type of human activity aimed at visual rethinking of the environment by creating new visual objects. Methodology. The article uses various research methods. Namely, the method of theoretical generalization allows in this study to classify and define the features of creative qualities, the feelings of the artist and the feelings of the consumer of the artistic product are studied, while the methods of analysis, classification and systematization were also used for an in-depth study of the topic and generalization Scientific novelty. The article classifies the features of creative qualities necessary for the creation and perception of an artistic product. The emotions and feelings of the artist, the structure of the artistic image, the mechanisms of its creation, and the peculiarities of its influence on a person are studied.Aesthetic sensations and artistic thinking are analyzed. The criteria of the mechanisms of psychological influence of fine art on the personality, the patterns of perception of the artistic image and their constituent mechanisms are formulated.The creativity of the artist is studied. The influence of personal, individual experience on the creation of an artistic image, what qualities of the author influence artistic practice, and what creative and psychological qualities are necessary for successful visual arts. The article also explores the creative abilities and psychological characteristics of artists.Conclusions. The perception of contemporary fine art is extremely related to the psychological qualities of both the artist and the viewer (consumer of the artistic product). This requires a constant study of the psychological personal qualities of people associated with art, what factors and how they influence successful activities in the field of art.

THE ARTISTIC LEGACY OF IVAN PARYPA IN THE CONTEXT OF THE ARTISTIC TRANSFORMATION OF METALWORK IN THE CARPATHIAN REGION

Vitalii HORODETSKYI — 2025-08-28

The aim of the article is to provide a comprehensive study of the artistic legacy of Ivan Mykhailovych Parypa – graphic artist, metalwork master, educator, and representative of the Kosiv art school – in the context of the artistic transformation of traditional metal art in the Carpathian region.The research is based on an interdisciplinary methodological framework combining art historical, historical-cultural, comparative, and visual-analytical approaches.A contextual analysis of Parypa’s graphic works and metal artworks has been carried out. His pedagogical methodology is examined, with particular focus on the formation of students’ compositional skills and the development of an individual ornamental language.Empirical material includes interviews with the artist and his former students, which demonstrate the sustained pedagogical influence of Parypa across several generations of artists.The scientific novelty of the study lies in offering, for the first time, a holistic academic interpretation of Ivan Parypa’s creative output within the processes of transformation of Hutsul artistic tradition in contemporary decorative and applied art. Stylistic features of his artistic language are defined, where folklore symbolism is synthesized with narrative – based composition. In addition, for the first time, graduates’ reflections have been collected and analyzed as evidence of pedagogical continuity, which contributed to the formation of a distinctive authorial school of compositional thinking in the art education system of the Carpathian region.Ivan Parypa emerges as a key figure of the Kosiv art school, whose activity exemplifies the deep artistic transformation of the metalworking traditions of Hutsul culture. His graphic and metal works reflect a complex system of figurative thinking that integrates tradition and innovation. His pedagogical work has contributed to shaping the spiritual and aesthetic worldview of young artists. Many of his students, who later became independent artists, continue to apply the principles he introduced in contemporary metal art, graphics, and composition. Thus, the creative and educational legacy of Ivan Parypa constitutes an important component of national artistic identity.

DIGITAL DRAWING AS A COMPONENT OF STUDENT’S INDEPENDENT WORK IN THE PROFESSIONAL TRAINING OF FUTURE SPECIALISTS

Natalia DIHTYAR — 2025-08-28

The pedagogical problem that initiated this article can be formulated as an emphasis on the active introduction into the practice of training specialists in fine and decorative and applied arts, fine arts teachers – digital technologies, in particular digital drawing in the independent work of students in drawing classes. Independent work is the main means of acquiring knowledge in free time and involves mastering the full scope of the curriculum and the formation of independence as a personal trait and an important professional quality of a student, the essence of which lies in the ability to systematize, plan and control one’s own activities. In digital works – light sketches, sketches, performed both in class and independently, students can use various techniques of electronic imaging, such as layer editing, gradient fills, texturing, imitation of various graphic materials and tools. The advantages of digital drawing in sketching, sketches and drawings in the student’s independent work are revealed: a large selection of artistic tools and materials in graphic editors; environmental friendliness, time efficiency, interactivity; speed of execution; easy possibility of correction and making adjustments, mobility, a wider field of use of students’ creative achievements; greater independence in making creative decisions, planning independent work, etc. It is emphasized that for the teacher, the introduction of digital drawing in independent work is an opportunity to more effectively track the progress of students; diversify the forms and methods of learning; cover a larger number of participants in the educational process, the possibility of remote control and evaluation of works.The shortcomings of digital art are noted and highlighted, because it will never replace traditional approaches and methods of teaching drawing, but will only complement and enrich the training of future artists, fine arts teachers.

FORMATION OF THE YUNNAN SCHOOL OF PAINTING IN CHINA IN THE FIRST AND SECOND THIRD OF THE 20TH CENTURY: FROM THE “PARISIAN” TO THE “SOCIALIST REALIST” ARTS

Yevgen KOTLYAR — 2025-08-28

The purpose of the article is to study the process of formation of the Yunnan school of painting in the context of the evolution of Chinese fine arts during two periods: the “Parisian” 1930–1940s and the “socialist realist” 1950s – mid-1970s.Methodology. The authors use the methods of typological, comparative and historical-chronological analysis.In order to identify and substantiate the main stages of the Yunnan school of painting, the periodization method was used.Scientific novelty. The analysis of sources made it possible to identify, research and substantiate the main stages of the development of the Yunnan school of painting and focus on the analysis of the art of the first two periods: “Parisian” and “socialist realist” art. Internal relationships are studied in the context of the evolution of painting of each individual period. The article identifies and analyzes the thematic features of painting and the dynamics of the style repertoire.Conclusions. The work of artists of the “Parisian” period of the first half of the 20th century. played a key role in the demarcation of traditional and modern art. Acquaintance with Western European trends in painting prompted artists to rethink their own experience, which is noticeable in the work of Liao Xinxue and Li Jiming – the two most influential figures in painting in the region at that time. Both artists made a lot of efforts for the mutual incorporation of Chinese and Western art, trying to form the modernist face of Chinese painting as a self-sufficient phenomenon. The combination of organizational and creative efforts allowed to form the concept of the Yunnan school of painting. This becomes noticeable in the 1940s both in the field of art education and in exhibition projects. The Yunnan School of Painting in the 1950s and 1960s was distinguished by a wide variety of genres and stylistic forms, which was manifested in a characteristic stylistic and species eclecticism. A sign of this was the tendency to use gohua to depict socialist realist motifs (the work of Wang Jinyuan and Mei Xiaoqing). In contrast, the use of oil painting to express informal symbolic meanings (for example, in the paintings of Zhang Ding) showed the connection of oil painting with the traditions of Chinese art. It was in the 1950s that the Yunnan School reached the all-Chinese level: its thematic repertoire was established, artistic trends (primarily painting with ethnic motifs) emerged, and the foundations of the phenomenon of “strong color painting” were formed.Practical significance. The text and visual materials of the publication deepen the understanding of regional painting in the context of Ukrainian oriental studies, which has practical potential for scientific and educational work.

YURII BARANNIK: GALLERIST, ARTIST, CURATOR, BEARER OF AN EDUCATIONAL MISSION

Hanna LYSENKO — 2025-08-28

The purpose of the paper. This article presents a comprehensive analysis of the multifaceted activities of Yurii Barannik (1954–2019), a key figure in the formation and development of the contemporary art scene in Zaporizhzhia.Methodology. The study is based on historical and art-historical analysis, tracing the evolution of Barannik’s artistic work. Primary sources – scholarly studies, media publications, and personal testimonies – were used. A systematic and descriptive approach was applied to analyze his cultural activities and projects.Scientific novelty. This is the first attempt at a holistic academic study of Yurii Barannik’s activities and his significant impact on the artistic landscape of Zaporizhzhia. The article systematizes and summarizes information about his major initiatives. His personal artistic work, particularly in the field of light projections – an underexplored aspect of his creative output – is also analyzed.Conclusions. The research emphasizes Barannik’s contribution to the renewal of Zaporizhzhia’s cultural environment and the popularization of land art in Ukraine and beyond. The Barannik Gallery became a center for artistic exchange, while the Khortytsia Land Art Festival promoted art in natural settings. His work extended beyond curating exhibitions and festivals – the “Constructivism Weeks,” the international conference on Zaporizhzhia modernism and the Bauhaus, and the “Historical Locations” project, uniting four festivals across the city, are examined. The gallery’s role in establishing a tourist information center is also highlighted. Despite his busy organizational activity, Barannik’s own artistic practice – particularly his use of light projections to reveal the uniqueness of space – demonstrated his distinctive creative talent.

INTERCULTURAL CODES IN DIRECTING SHOWS AND ART PROJECTS: LOCAL AND GLOBAL

Krystyna NASTACHENKO — 2025-08-28

The article presents a theoretical and analytical reflection on intercultural codes as key elements of contemporary directing in shows and art projects that operate at the intersection of local traditions and global formats. The relevance of the study is substantiated in the context of intensifying globalization processes, which require new approaches to representing local identity through artistic forms. The aim of the study is to identify the specifics of intercultural code functioning in the directing of artistic projects and the strategies for adapting local content to the global context and vice versa.The research methodology is based on an interdisciplinary analysis that integrates semiotic, cultural, and directing- practical tools for a comprehensive study of intercultural codes within the context of performing arts and global communication. The scientific novelty of the study lies in the identification, systematization, and theoretical reflection on directing strategies for operating with intercultural codes in various shows and artistic projects at the dynamic intersection of local and global cultural contexts.Results and conclusions. The article outlines the theoretical foundations of intercultural communication in the arts, relying on the concepts of cultural code, symbolic translation, and intercultural dialogue. Key directing strategies for engaging with intercultural codes are identified: hybridization, contextualization, and deconstruction. The application of these strategies is analyzed using examples of Ukrainian art projects presented at international festivals, as well as within the adaptation of global show formats, particularly the television project *Dancing with the Stars. It is demonstrated that the director acts as a cultural facilitator capable of conveying local narratives through a universal stage language while preserving the deep semantics of national identity. Attention to cultural code in directing is viewed as a factor in fostering intercultural understanding and as a tool of humanitarian diplomacy.The materials of this study are of interest to a wide range of scholars and practitioners, particularly specialists in directing, performing arts, cultural studies, semiotics, intercultural communication, as well as experts in creative industries working with global formats. This research will be especially valuable for scholars in postcolonial contexts, where the need to rethink local experience through universal artistic languages becomes particularly relevant. Future research should focus on an in-depth analysis of the semiotics of intercultural codes in digital formats of performing arts and on the study of the reception of local meanings in a global context.

THE SERIES OF WORKS BY STAS ZHALOBNIUK FROM THE PROJECT “RADIANCE” – A LANDMARK ACQUISITION FOR THE COLLECTION OF THE DNIPRO ART MUSEUM

Sergii NESMACHNYI — 2025-08-28

The purpose of the work is to highlight the specific features of the Dnipro Art Museum’s activities under martial law, to outline the transformations related to the rethinking of exhibition policy, the formation of a renewed collection of contemporary Ukrainian art, and the implementation of Stas Zhalobniuk’s exhibition project “Radiance” as an example of current museum practice. The artist’s gift to the museum is also analyzed as a significant acquisition that represents new forms of interaction between the artist and the institution during wartime. The research methodology is based on a comprehensive approach involving general scientific and special methods of cognition – analytical, historical-chronological, systematization, and generalization. This allowed for an in-depth analysis of the stated issue and the formulation of relevant conclusions. The scientific novelty of the study lies in the application of an integrated approach to the analysis of the case of the Dnipro Art Museum as an example of a strategy for renewing museum identity through relevant exhibition practices, the replenishment of collections with contemporary works, and partnership collaboration with artists. Special attention is given to the “Radiance” project as a form of artistic reflection on the traumatic experience of war. The analysis of Stas Zhalobniuk’s gift provides grounds to identify new trends in museum collection development based on horizontal relationships between the author and the institution. Conclusions. The experience of the Dnipro Art Museum confirms the ability of Ukrainian museum institutions to adapt to new challenges and operate in wartime conditions. The suspension of the main exhibition prompted a rethinking of its content, the implementation of decolonial approaches, and the formation of a renewed visual identity. Partner contributions, particularly the gift from Stas Zhalobniuk, serve as markers of the time and tools for memorializing the experience of war. The “Radiance” exhibition and its extension within the museum’s anniversary program demonstrate the potential of contemporary art as a form of communication, critical reflection, and construction of cultural memory.

CONTEMPORARY ART AS A FACTOR IN THE REVITALIZATION OF URBAN SPACES

Tetiana PROKOPOVYCH — 2025-08-28

This article is devoted to a comprehensive analysis of the role of contemporary art in the revitalization processes of urban spaces. The study addresses key issues, strategies, and prospects for integrating artistic practices into the transformation of urban environments. It formulates theoretical foundations and practical recommendations for planning, designing, and implementing artistic interventions aimed at renewing urban territories, improving the quality of urban space, and preserving cultural heritage.Special attention is given to the formation of a unique cultural image of the city and strengthening its identity through contemporary art; to the integration of sustainable development principles into public space design for the harmonization of ecological, social, and economic aspects of development; and to the study of innovative artistic formats in the context of community engagement and meeting the diverse aesthetic needs of the population.The purpose of this article is to explore and substantiate theoretical foundations and practical approaches to using contemporary art as a tool for urban space revitalization, as well as to identify its potential in shaping cultural identity, enhancing the quality of urban environments, and promoting sustainable urban development.The methodological framework is based on an interdisciplinary approach that includes a systematic analysis of scientific literature in the fields of contemporary art, urban planning, architecture, and landscape design; comparative research on domestic and international experiences of urban revitalization (including cases in Ukraine, as well as the High Line in New York, Tate Modern in London, and Rockbund Art Space in Shanghai). This approach allows the identification of current trends, practical tools, and key challenges in the field of art integration into urban environments.A historical and cultural analysis enables the tracing of the evolution of approaches to art integration in urban space and reveals the historical premises for the concept of revitalization. The comparative-analytical method focuses on the study of revitalization project implementation in different countries and the comparison of artistic practices in the context of local cultural policies. Art criticism analysis is used to characterize contemporary artistic strategies employed in the creation of public art objects and environmental installations. A systematic literature review encompasses sources from urban studies, architecture, cultural studies, and contemporary art to identify the current state of the field and major research directions.The scientific novelty lies in the comprehensive interdisciplinary approach and the analysis of key aspects shaping the artistic space of the contemporary city. It is noted that digital technologies are being integrated into urban artistic practices; innovative methods of creating and presenting artworks using virtual (VR) and augmented reality (AR) technologies are being implemented. These technologies help to overcome the limitations of traditional exhibition formats and provide an entirely new level of immersive experience. For example, the use of AR for three-dimensional visualization of cultural artifacts in museum environments significantly increases public interest and engagement.Conclusions. Urban space art plays a vital role in shaping the cultural identity of a city, preserving heritage, fostering social communication, and stimulating economic development. However, challenges related to the degradation of spatial quality, cultural homogenization, and insufficient consideration of sustainability principles are also identified. The need for enhanced strategic planning, consideration of regional contexts, and the implementation of comprehensive ecological and cultural approaches for the effective realization of artistic practices in urban spaces is emphasized.

MINIMALISM AS A KEY TREND AND CREATIVE STYLE IN THE SPHERE OF CONTEMPORARY ART

Tetiana PROKOPOVYCH — 2025-08-28

Minimalism is one of the most influential and significant trends in contemporary art. It emerged in Europe in the early 20th century and gradually spread across various artistic practices. Its appearance marked the beginning of new conceptual approaches in painting, sculpture, architecture, installation, design, as well as in literature and other forms of artistic expression.The core concept of minimalism is the principle of «less is more,» which involves a radical simplification of forms, colors, and materials. This approach leads to the elimination of decorative elements and narrative components, emphasizing the purity of expression and essential characteristics of artistic ontology.Minimalist works are largely based on the use of geometric forms, a limited color palette, industrial materials, and such techniques as repetition and orderly arrangement of elements. These tools create a visual language distinguished by a sense of order and structure. At the same time, minimalism emphasizes the importance of interactive experience arising from the interplay between the artwork, space, and viewer, blurring the boundaries between art and everyday life.On the level of artistic value, minimalism not only challenges traditional aesthetic paradigms but also prompts profound reflection on the very nature of art. It reflects humanity’s pursuit of spiritual purity and renewed forms of perception in the post-industrial era.This study analyzes the emergence, evolution, and significance of minimalism in the context of contemporary art and outlines the features of its application in current artistic practices.The aim of the article is to analyze both the external expression and internal forms of minimalism on various artistic levels, and to define the specifics of its application and influence across different spheres of artistic aesthetics.Research Methods. The methodological framework of the study is based on an interdisciplinary approach that combines art criticism, historical-cultural, comparative-analytical, and phenomenological methods.Artistic analysis is used to examine the formal and stylistic characteristics of minimalist works in painting, sculpture, design, architecture, and installation. Special attention is paid to the analysis of artistic tools such as geometric forms, limited color palettes, repetition, materiality, and spatial qualities.The historical-cultural method made it possible to trace the origins and stages of development of minimalism as an artistic movement, from its early manifestations in early 20th-century European art to its transformations in post- industrial and postmodern contexts. The study explores the socio-cultural prerequisites for the emergence of the style and its connection with the philosophical ideas of modernism and conceptualism.The comparative-analytical method is applied to juxtapose minimalism with other contemporary art movements (such as conceptualism, abstractionism, and postmodernism), thus allowing for a clearer definition of its aesthetic autonomy and distinctive features.The phenomenological method allowed for the exploration of the viewer’s interaction with minimalist artwork as an intersubjective experience, focusing on the perception of space, silence, rhythm, emotional neutrality, and the effect of presence.Overall, the combination of several methods enabled a thorough investigation of the philosophical and aesthetic essence of minimalism as a style that continues to actively evolve within contemporary art.Scientific Novelty. The scientific novelty of the study lies in its comprehensive interdisciplinary approach to analyzing the impact of minimalist art in the context of contemporary artistic discourse. The focus of analysis includes not only the history of art but also painting, sculpture, design, architecture, and other creative fields.Conclusions. Minimalism in contemporary art is not only reflected in form, color, and space but, more importantly, acts as a cultural symbol with far-reaching influence. Minimalism is a complex of formal experimentation, philosophical speculation, and cultural dialogue.

AESTHETIC AND CULTURAL ASPECTS OF THE REPRESENTATION OF 20TH–21ST CENTURY FINE ART IN MUSEUM PRACTICES OF VOLYN: BETWEEN TRADITION AND MODERNITY

Taras STEPANCHUK — 2025-08-28

The article examines the museum practices of Volyn aimed at the preservation, research, and promotion of 20th–21st century fine art. It analyzes exhibition and collection approaches to the representation of artistic heritage in the Volyn Regional Museum of Local History, the Art Museum in Lutsk, and the Korsaks’ Museum of Contemporary Ukrainian Art. The study identifies transformations in museum activities toward the integration of contemporary art, the use of digital technologies, and the development of interactive forms of communication with the audience. The article highlights the balance between traditional forms of museum representation and innovative approaches to visualizing the artistic process within the regional cultural space.The purpose of the article – а comprehensive analysis of the development and presentation of 20th–21st century fine art in the museum practices of the Volyn region, with a particular focus on studying ways to combine traditional methods of museum exhibition with innovative contemporary approaches. The article aims to reveal the role of Volyn museums in preserving artistic heritage, adapting collections to new socio-cultural challenges, and identifying prospects for the further development of museum activities in the context of modern technologies and cultural transformations.The research methodology is based on the principles and tools of analysis and synthesis, including systemic, typological, historical, logical, comparative, art historical, and cultural analysis.A scientific innovation of the research The study involves a comprehensive investigation of museum activities in the Volyn region in the context of representing 20th–21st century fine art, with an emphasis on the interaction between traditional and contemporary approaches. It analyzes not only the historical development of museum collections and exhibitions but also the integration of innovative technologies such as digital installations, VR, and interactive formats, which have been actively, applied in the region’s museum practices since the early 21st century.Conclusions. A study of museum practices in Volyn in the field of 20th–21st century fine art demonstrates that the region’s museums successfully combine traditional methods with modern technologies and innovative approaches.By preserving and promoting collections that encompass a wide range of artistic styles, Volyn’s museums play a key role in safeguarding cultural heritage and shaping regional identity. Since the beginning of the 21st century, there has been an active introduction of digital formats, interactive installations, and new curatorial strategies, which contribute to expanding the audience and enhancing the level of art education. Particularly significant is the period from 2022 onwards, when museums in the region began actively responding to contemporary socio-cultural challenges through thematic exhibitions and educational initiatives.