Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
Research problems The influence exerted by the totalitarian ideology of the Soviet Union on the Ukrainian artistic environment in the period 1932-1991. What caused the changes in the artistic and social environment of totalitarian ideology and what are the consequences of totalitarian ideology. Motives for the study 1 I am interested in how the transoformation from totalitarian art to the modern takes place on the example of a post-totalitarian state Ukraine And on the example of myself, as an object of research, how a person who grew up and learned and formed in posttotalitarian ideology in Ukraine falls into the European Union, studies the artistic environment of Europe, then what does it lead to transformations.
With the promotion of lifelong learning, foreign museums pay considerable attention to adult education and are engaged in their art education by developing different specialized educational programmes. However, Lithuanian museums lack such programmes and work experience of adult teaching. The absence of scientific data on what particularities of adult education are displayed during educational activities in Lithuanian museums posed a problem for the study and showed that little research has been conducted in this field. The research focused on the particularities of adult art education in the activities of art museums and aimed at revealing them. To that end, the paper sets: 1) to discuss psychological and sociological development characteristics of adults; 2) to describe the conception of museum education, its forms of activities and aspects of development; 3) to reveal the specifics of adult education in the museum educational activities and the possibilities for art education; and 4) to look at the particularities of adult art education while carrying out educational activities in the museum of art. The research methods employed systematic analysis of scientific sources and the legislation regulating educational activities of the museums, the unstructured interview, the semi-structured interview, and the quantitative data analysis. The research produced the following results: 1. Stages of adult development are better determined by social rather than biological age of a person since the former has a greater impact on maturity of the person. 2. Museum education presents learning possibilities in the museum environment where displayed exhibits employed for educational purposes generate aesthetical satisfaction. Educational activities of art museums produce art users and art lovers. 3. The need for learning (training, teaching, etc.) and self-expression (creativeness, opportunities, etc.), the need for satisfaction/emotional expression and social interaction, and educational methods employed by the museum (practical activities, narration/presentation) determine the particularities of adult art education in the educational activities of art museums. 4. The aspects of educational methods, teaching/training and satisfaction/emotional expression identified through the interview of educators confirmed the needs expressed by adults.
With the promotion of lifelong learning, foreign museums pay considerable attention to adult education and are engaged in their art education by developing different specialized educational programmes. However, Lithuanian museums lack such programmes and work experience of adult teaching. The absence of scientific data on what particularities of adult education are displayed during educational activities in Lithuanian museums posed a problem for the study and showed that little research has been conducted in this field. The research focused on the particularities of adult art education in the activities of art museums and aimed at revealing them. To that end, the paper sets: 1) to discuss psychological and sociological development characteristics of adults; 2) to describe the conception of museum education, its forms of activities and aspects of development; 3) to reveal the specifics of adult education in the museum educational activities and the possibilities for art education; and 4) to look at the particularities of adult art education while carrying out educational activities in the museum of art. The research methods employed systematic analysis of scientific sources and the legislation regulating educational activities of the museums, the unstructured interview, the semi-structured interview, and the quantitative data analysis. The research produced the following results: 1. Stages of adult development are better determined by social rather than biological age of a person since the former has a greater impact on maturity of the person. 2. Museum education presents learning possibilities in the museum environment where displayed exhibits employed for educational purposes generate aesthetical satisfaction. Educational activities of art museums produce art users and art lovers. 3. The need for learning (training, teaching, etc.) and self-expression (creativeness, opportunities, etc.), the need for satisfaction/emotional expression and social interaction, and educational methods employed by the museum (practical activities, narration/presentation) determine the particularities of adult art education in the educational activities of art museums. 4. The aspects of educational methods, teaching/training and satisfaction/emotional expression identified through the interview of educators confirmed the needs expressed by adults.
At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.
At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in (differently) live or mediated performances and establishes the virtual as an integral element of the performative. Virtuality in contemporary performance art is considered to be the virtual perceived on its ontological level.
At the turn of the 20th century, three notions of the virtual can be distinguished in the humanitarian thought: technological, social, and performative. Application of G. Simondon's theoretical concepts of ontogenesis to E. Fischer-Lichte's concepts of mediality, aesthetics, and materiality of the performance – marks a conceptual theoretical shift from the performatively established unity of the aesthetical, political and social aspects of the performative as their temporal synthesis, towards the establishment of the procedurally acquired aesthetical, political and social performative reality as the dynamic relations of participation between vital and non-vital individuals performing on both sides of the screen. Contemporary processes of performance virtualization and the emergence of a perceived episteme of the perceiver's inclusion, required the revsision of the S.C. Peirce's semiotic definition of the virtual. Hence, it is complemented with the notion of mixed performative, which still depends on the perceiver's corporality, however, transcends the boundaries of "pure" physicality and can be interpreted as follows: A virtual X (where X is multiple, temporally related generic nouns) is something other than X (which has a different impact (virtus) upon X) and depends directly on the temporal involvement of a perceiver experiencing virtual X in the process of its semiosis. This formula of the virtual can also be considered as a definition of the virtual in contemporary performance art, which can be applied by "inserting" variables of the structural elements of performativity (cf. Fischer–Lichte) extended by the concepts of G. Simondon's philosophy in the instrumentation of the contemporary performative (taking into consideration that the definition of these elements varies in every even being performed, depending on its different strategies). Such a formula of the virtual – allows to assess the historical spectrum of performativity-virtuality connections and notions of the virtual when it manifests itself in ...
People with disabilities, people with special needs in our society have the same rights as other members of the public. People with disabilities must have the same education, work, leisure, participation in the social life, political and community options. Art therapy is interpreted differently in different countries and in different scientific literature. Art therapy can be appreciated as one of the integration dimension of the disable people into the society. Art is emerging as the most perfect language for all people to communicate, especially while verbal communication is difficult or impossible. Art therapy is applied recently in Lithuania. Art therapy is an effective and useful. But there is problems how to apply it, how to organize the work, what programs and methodological materials you can use in work, how to evaluate the effectiveness, who is suitable professionals for this job, how to adapt art therapy to the general curriculum? Master's paper objective is to analyze and evaluate the art education process peculiarity in the special needs schools. To implement the objective the following tasks were raised: to analyze the general methodological recommendatory documents of the primary and general education programs; to disclose the peculiarity of organizing art education in special needs schools; evaluate the peculiarity of organizing art education in special needs schools and to do the to do the questionnaire research. The object of the research is art education elements for schoolchildren with special educational needs. In the research was participating administrative staff of Lithuanian special needs schools. However, the ongoing development of art education is too slow. We have not enough professional art education teachers that could use high-quality art therapy and psychology techniques. Still are visible lack of information and resources for learning.
People with disabilities, people with special needs in our society have the same rights as other members of the public. People with disabilities must have the same education, work, leisure, participation in the social life, political and community options. Art therapy is interpreted differently in different countries and in different scientific literature. Art therapy can be appreciated as one of the integration dimension of the disable people into the society. Art is emerging as the most perfect language for all people to communicate, especially while verbal communication is difficult or impossible. Art therapy is applied recently in Lithuania. Art therapy is an effective and useful. But there is problems how to apply it, how to organize the work, what programs and methodological materials you can use in work, how to evaluate the effectiveness, who is suitable professionals for this job, how to adapt art therapy to the general curriculum? Master's paper objective is to analyze and evaluate the art education process peculiarity in the special needs schools. To implement the objective the following tasks were raised: to analyze the general methodological recommendatory documents of the primary and general education programs; to disclose the peculiarity of organizing art education in special needs schools; evaluate the peculiarity of organizing art education in special needs schools and to do the to do the questionnaire research. The object of the research is art education elements for schoolchildren with special educational needs. In the research was participating administrative staff of Lithuanian special needs schools. However, the ongoing development of art education is too slow. We have not enough professional art education teachers that could use high-quality art therapy and psychology techniques. Still are visible lack of information and resources for learning.
This theoretical work explores the meanings of leisure in the context of social and cultural formations of our time as well as works of art which portray leisure activities in their narrative. The work is divided into two parts: the first part discusses the idea of social leisure and its stages throughout the history. The second part analyses the concept of leisure in art and is represented in five chapters: pleasure meaning in leisure activity, casual leisure, gender and leisure experience, ethnicity and leisure experience and virtual leisure. This part concentrates more on leisure portrayal in art and discusses artist's relation to cultural leisure experience. The purpose of this work was to find out how different cultural, ethnical and political society tradicions influence leisure activity and how artists represent that heritage in their artwork. The work also addresses the virtual reality aspect and new technological side of contemporary art. The theoretical work comes to the conclusion that the socio-cultural aspects of living society have a main input in formatting leisure based activities and influence art, especially which portrays leisure experience. This observation also showed that artists either represent the individual metaphysical relation to ethnical society or criticize the global consumer culture in their leisure narrative based works. When portraying leisure activities, artists are influenced by their own experience which is formed by ethnical and cultural identity.
This article reconsiders the interface between politics and aesthetics in Jacques Rancière's work. Rancière claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Rancière finds the paradigmatic example of such commensurability in Claude Lanzmann's film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-François Lyotard's philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity "to stare at the unsayable". For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann's Shoah and insists on the necessity to make or present images "in spite of all". In my article, I want to build on this controversy by introducing into it Michael Haneke's film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann's film, and on the other hand, it examines violence present at the core of our everyday life.
This article reconsiders the interface between politics and aesthetics in Jacques Rancière's work. Rancière claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Rancière finds the paradigmatic example of such commensurability in Claude Lanzmann's film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-François Lyotard's philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity "to stare at the unsayable". For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann's Shoah and insists on the necessity to make or present images "in spite of all". In my article, I want to build on this controversy by introducing into it Michael Haneke's film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann's film, and on the other hand, it examines violence present at the core of our everyday life.
This article reconsiders the interface between politics and aesthetics in Jacques Rancière's work. Rancière claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Rancière finds the paradigmatic example of such commensurability in Claude Lanzmann's film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-François Lyotard's philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity "to stare at the unsayable". For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann's Shoah and insists on the necessity to make or present images "in spite of all". In my article, I want to build on this controversy by introducing into it Michael Haneke's film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann's film, and on the other hand, it examines violence present at the core of our everyday life.
This article reconsiders the interface between politics and aesthetics in Jacques Rancière's work. Rancière claims that the unrepresentability in art in some specific cases is commensurate with the unthinkability of a political event. Rancière finds the paradigmatic example of such commensurability in Claude Lanzmann's film Shoah (1985). The discourse of the unrepresentable originates from the Kantian notion of the sublime and the subsequent modifications of this notion in Jean-François Lyotard's philosophy. Lyotard displaces the sublime in the field of modern art, defining it as the art of negative presentation. This negativity refers both to the unrepresentable dimension in modern art and the unthinkable dimension of traumatic political events, such as the Holocaust. Contrary to this strategy of sublime adoration, Giorgio Agamben and Georges Didi-Huberman argue against the unrepresentable and claim the necessity "to stare at the unsayable". For example, Didi-Huberman in his Images In Spite of All provocatively rejects the formal choices of Lanzmann's Shoah and insists on the necessity to make or present images "in spite of all". In my article, I want to build on this controversy by introducing into it Michael Haneke's film The White Ribbon (2009), which plays on both sides: on the one hand, it uses the negative aesthetics of the sublime, very similar to that of Lanzmann's film, and on the other hand, it examines violence present at the core of our everyday life.
