Littérature scientifique sur le sujet « Artistic decentralization »

This paper discusses temporal narratives and musical action, focusing on the decentralization trends in models, means, objects, knowledge and objectives of artistic creation on the Net. In a widespread cognitive environment, diachronic and spatial communication values have to be adapted. The development of linguistic flows, codified according to digital models, leads net users to interact in a different way. In a decentralized environment, many conditions for composing and listening to music may be subordinated to the conception of creative thought as a combination of recursive, connective, and systemic processes, which redefine not only the concept of musical object and sound space, but also that of music itself.

The relevance of cultural and educational activities to ensure the promotion of the Ukrainian Roztochchia region has been analyzed. In connection with the processes of decentralization, a number of problems arise with the passporting of objects of cultural heritage, innovations in document circulation, etc. Active military actions on the part of Russia lead to large‒scale destruction or complete destruction of the artistic heritage of certain regions of Ukraine. In the current conditions, measures for security, fixation, preservation and promotion will be of great importance in the cultural and artistic space both for a separate region and for the state as a whole. The need to capitalize the resources of cultural strategies has become especially acute during the 2022-2023 war, a time when the issue of heritage preservation is a priority at all levels of state formation. The opening of cross‒border road connections between Ukraine and Poland created favorable conditions for the development of tourism. This allows increasing tourist flows, especially from European countries to Lviv, and also requires the development of tourist infrastructure on both sides of the border: hotels, cafes, eco-stops, agro‒villages, etc. Cross‒border tourism has covered only the roadside (along the main transport arteries) part of the Roztochchia region, but the majority of artistic attractions, namely the heights of Roztochchia, remain outside the international tourist flows. The lack of land border crossings, information sources about tourist routes, insufficient provision and low standard of logistics services, especially from the Ukrainian side, lead to the leveling of cultural heritage and its promotion. International projects, competitions and grants will be important factors supporting the development of artistic processes in the region. High civic consciousness and the activity of cultural institutions will lead to significant positive changes in the issues of preservation and promotion of regional features, their identity and uniqueness.

Background. Since the 1960s Ukrainian artistic textile has been researched by S.Sydorovych, A.Zhuk, Ya.Zapasko, Z.Chehuseva, T.Pecheniuk, H.Kusko, Ye.Shymchuk, Z.Shulha, D.Bobiak, O.Yamborko, O.Nykorak, T.Lupii, O.Lukovska, O.Moisiuk studied regional features of folk weaving in history aspect. The fifth volume of The History of Ukrainian ornamental art published by M. T. Rylsky Institute of Art, Folklore Studies and Ethnology Institute of National Academy of Sciences of Ukraine is the important fundamental study where the researched issues are considered (2016). This volume presents the contribution of Rivne and Lviv artists Marta Tokar, Ivanna Tokar, Tetiana Lukashevych, and Olena Okhrymyk in general features. Separate aspects of Rivne artists’ creative work and school development are considered by A.Nikolaieva, N.Kosmolinska, O.Stashuk, I.Tokar etc. In modern times the complex research of Rivne art textile establishment and the issues of school development have not been presented that proves the importance of this paper. This study aims to outline social and cultural preconditions and features of Rivne Artistic Textile School establishment, give a short characteristic of its outstanding people creative work, and determine basic issues and ways of the development. The methodology is based on the complex approach including cultural, structural analysis and art study interpretation. This has provided the possibility using a system way to consider Rivne cloth art of the last decades as a complete art phenomenon. The scientific novelty concerns with regional characteristics of Rivne modern textile art. Results. Since last decades artistic textile having huge variety of its presentation has been becoming the field for new esthetic research and new point of view according to the surrounding on Rivne artistic map. This traditional ornamental branch is getting closer to pictorial art and in perfect manifestations it can even pretend to research modern social and human being conditions. The implementation and function of vocational art education were the important motivation to develop Rivne region artistic textile despite of weak institutional support especially in recent years. This paper studies beginnings and current issues of Rivne Cloth Art School becoming. New artistic senses are polished in the process of democratic competition through craftswomen creative ideas of different generations. This fact demonstrates the formation of Rivne Artistic Textile School. It is textile that is presented at international exhibitions among other kinds of arts including contribution of younger generation craftswomen. Simultaneously the author points out the issue of weak institutionalization of Ukrainian modern art on the local level. First of all it is revealed on the level of artifacts museification as the representation issue becomes the main one in the modern world. According to Rivne regional textile art the issue of centralized accumulation absence of modern works kept in artists’ studios is the most important one. This makes art utterances function more complicated for its research and interpretation. Artistic textile vocational school cooperation with Rivne Linen Factory (that existed till the 1990s) has interesting potential possibilities under the conditions of factors appearance that would let reanimate it or develop a new one. The author states that it can be the development of flax culture in Ukraine, expanding of enterprise ranges and other strategic structural initiatives. Conclusions. Rivne Artistic Textile School became the original branch of Lviv Arts and Crafts School. Focusing on regional folk weaving traditions Rivne modern craftswomen developed a new and unique artistic phenomenon characterized by the variety of its expressions in the semantic content and shape-created aspect. Rivne art-space analysis through the decentralization of artistic processes demonstrates that the leading role definitely belongs to art fabric in this process. Moreover this trend is powerful enough and artistic textile is a counterweight factor to the traditional painting centrism of Ukrainian art (including art-market). The next stage of the research aims to highlight imaginary system of separate art personalities. The study can be interpreted in such interdisciplinary aspects as cultural analysis, methodological points etc.

The author analyzes the transformations of Hellenic theologys content and forms in the epoch of early antique classics (1st half of the 5th century B.C.). The general orientation of such transformations is the generalization of mythological gods meanings into the abstract implications of the Absolute, which is not yet sacral in its full sense and not transcendent. Besides, this period is the end of the decentralization of consciousness. Cognitive limitations to the development of abstract conceptual thinking and the rational component of consciousness are removed. This processs main points transform mythology into artistic and aesthetic creativity (folklore, mythopoetic epic, etc.), religious consciousness, and theology. Rationalism is always critical. Critical rationalism inevitably leads to historicism. Therefore, the formation of a historical attitude strengthens at the sight of the critical approach. The world's mythological image is increasingly being questioned (first in parts, and then in general). Its content is being transferred to the past. Finally, the era of early classicism comes into play. It is a time when theology becomes a field of philosophical and theoretical reflection on myth and an area of its artistic and aesthetic experience. The most influential form of such an understanding of myth was the theater. The ancient theater served as a spiritual and practical form of ancient theology, a subject embodiment of theology in stage action.

The object of the study is the process of globalization, the subject of the study is its impact on the structure of the art market and national artistic cultures. Based on the idea of a dialogical cultural model, which was adhered to by V. Bybler and M. Bakhtin, the author justifies the use of the term "dialogue of cultures" to characterize the processes taking place in the space of the modern art market. Special attention in the study is paid to the analysis of its structural transformations: according to the author, inclusivity, which primarily consists in the decentralization of the internal structure of the art market, is a key characteristic that allows to periodize its development into classical and modern stages. A special contribution of the author of the study is an in-depth analysis of exhibition projects: "Magicians of the Earth" by J.-Y. Martin, as well as "Cities in Motion" by H.-W. Obrist and H. Hanru. It is established how these projects aroused the interest of Western collectors in the exotic and changed the share of representation in the art market of non-European art. The main conclusion is that the process of globalization of the art market acutely poses the problem of deformation of the perception of cultural heritage: the appeal of the Western world to traditional cultures in the forms of cultural and art tourism leads to fragmentation and differentiation of once integral national artistic cultures.

The subject of the research is theoretical and practical aspects of determining the financial and economic results of the activity of cultural and artistic institution. The purpose of the work is to determine the financial and economic results of the activities of cultural and artistic institution and to establish their positive dynamics due to the introduction of controlling tools in the systematic management of its development. The methodological basis of the article was both general scientific and special methods of scientific knowledge. The following methods were used: monographic; economic comparisons; statistical and economic, incl. formal and factor analysis; economic and mathematical; balance; graphic. Results of work. In the process of controlling in the system of activity of cultural and artistic institutions in the countryside and managing their development, financial and economic indicators and economic results occupy an important place. This is confirmed by the example of a rural house of culture. On the one hand, high and sustainable financial and economic results of its operation are important consequences of implementation, a kind of indicators of controlling efficiency. On the other hand, they are the financial basis for its further development and improvement. This is especially valuable in the context of decentralization of power, administrative-territorial reform, changing budgeting priorities for rural cultural institutions. The field of application of results. The conclusions and results of the article can be used in the educational process of economic faculties of higher educational establishments. They should be transferred for practical use in the management of socio-cultural enterprises. Conclusions. Factor analysis is important for enhancing the financial and economic performance of a rural club as a cultural and artistic institution. Economic factor analysis refers to the gradual transition from the initial factor system (performance indicator) to the final factor system, the disclosure of a complete set of direct quantitative factors that influence the change in the effective indicator. Their choice for the analysis of a particular indicator is made on the basis of financial and economic analysis of external factors. In this case, they usually proceed from the principle: the larger the set of factors under study, the more accurate the results of the analysis will be. Factor analysis can be done through questionnaires and be an important component of the controlling system.

After the end of the communist regime in Albania, culture and its institutions were the areas which had to suffer the most extreme damages and transformations. It was not only the way of thinking for a new way of managing, but its infrastructure as a whole, on a regular basis has suffered from considerable damages. In a different point of view, there was also a further considerable departure of individuals and the artistic community with the phenomenon of emigration. In these conditions, the first step that was taken was the drafting and implementation of legislation through which cultural and artistic institutions could operate, as well as free private initiatives. Firstly was first introduced the concept and were taken steps for drafting an intellectual property legislation, the law on cinematography, theater, cultural heritage, libraries and the book, in accordance with the recommendations of the expert representatives of the European Union authorities. Further, the first efforts were made by setting up working groups to draft the first strategic drafts on art and culture as well as medium and long-term budget projections. Consequently, the first effects of a cultural policy aimed at implementing a new administrative-legal platform were felt. This policy would firstly respect the principles of decentralization and secondly the cooperation with the homologous structures of the countries of the Balkan region and further with those of Europe and beyond. The various phases of the reform did not always brought the expected expectations with the projected objectives. As a result, the transition to art and culture institutions lasted somewhat longer than in different sectors of Albania’s socio-political development.

This article is about the artistic legacy of the famous monumental artist Grigory Avksentievich Dovzhenko, who lived and worked in the difficult and contradictory times of Ukrainian history and yet managed to preserve the identity of our culture in his works, perpetuate its signs in paintings, murals, mosaics, «Stone embroidered shirts». Studying local history, preserving cultural heritage sites, popularizing the historical past contributes to the formation of national and local identities, and gives impetus to the development of local communities. It is the community, its past, its distinctive identity, that is becoming the determining factor today, especially in the light of the processes of decentralization and preservation of the memory of generations. Life fate and creative heritage of G. Dovzhenko, a famous Ukrainian monumental artist, who devoted almost six decades to art. Each of his thoughts, every sketch, drawing, portrait, panel, still life is a continuation of eternal life, preservation of family memory. His creative heritage enriches today's and future generations. It must be remembered that the culture of every nation belongs to humanity, and our holy duty is to honor our cultural lights, be proud of them and popularize them, otherwise our awareness of ourselves as a nation will be impossible. Also during this period G. Dovzhenko addresses the topics of the national past. This is how the mosaic and fresco images of the times of Kievan Rus and Khmelnytskyi appear. Among the works of these years, the mosaic composition «Kiy, Schek, Choriv and their sister Lybid» is distinguished on the facade of the cinema «Rovesnik» in Kiev (1971), in which the artist managed to show the opto-color possibilities of smalt - the favorite material of ancient Ukrainian masters. G. Dovzhenko also portrays still lifes - bouquets of flowers in jugs, bread, fruits. But most often he paints flowering or covered with abundant fruit tree branches. These peculiar fragments of natural motifs are depicted by harmonious patterns on the canvas. G. Dovzhenko's artistic look reveals the organization of the subject world. The artist is constantly studying the laws and interconnections of natural forms. Hundreds of sketches of flowers and plants are of value to the attentive and skillful reproduction of form and color, the identification of logical structural conditionality of the structure, they are extremely interesting and further stylization, processing into decorative elements. This is a rare case in the practice of contemporary artists, when the artist does not use secondary material, but seeks to find and understand the laws of rhythm and symmetry, color plastics and structure. G. Dovzhenko in his work sought to embody a sense of gratitude for life. The artist was constantly experimenting, looking for different solutions of mosaic panels, based on the use of the best ancient traditions.

The Article is a part of a broad historical and literary problem of ‟Chekhov and his literary environment”. The paper under discussion is devoted to a comparative study of dramaturgical methods used by playwrights of the turn of the XIX‒XX centuries and the determination of the vector of the writers’ artistic search. The research subject is the system of structural and typological features such an element of dramaturgical methods as plot in the plays ‟The Cherry Orchard” by A. P. Chekhov, ‟Redemption” by I. N. Potapenko, “The Work of Life” by N. I. Timkovsky and ‟The Question” by A. S. Suvorin, the methods affiliation with a certain type of dramaturgical system (classical and ‟new drama”). The aim of the investigation is analysis of the features of the structure of the plot in selected plays, comparing them with the principles of classical drama and ‟new drama”, and comparing the findings among themselves. The main method used in the paper is the method of structural and typological comparison. The ideological and thematic unity of the plays, the interconnection of some motives, plot elements are revealed. It is proved that of all the plays considered, only the plot of Suvorin’s play ‟The Question” corresponds to the principles of classical drama, while elements of decentralization are already observed in it due to a certain independence of the secondary plot lines. The plot models of the plays ‟The Atonement” by Potapenko and ‟The Work of Life” by Timkovsky occupy an intermediate position between the classical and the ‟new drama”. In both plays, an ‟inner plot” appears. Unlike the aforementioned playwrights, Chekhov's plot model is fundamentally different from classical drama. The main principle of the organization of the plot of ‟The Cherry Orchard” is the decentralization of plot lines. The most important is the internal plot: a person in the flow of time. In addition, all the plays are united by an invariant plot reflecting the Russian reality of that time, connected with the fate of the noble estate mortgaged for debts.

The urgency of the scientific and pedagogical development of the pedagogical conditions of continuous students' design-training is connected with the necessity of formulating methodical features of the use of new forms and methods of teaching and control in the conditions of higher pedagogical education; systematization, streamlining and standardization of the process of independent design training of students; introduction of the principle of decentralization, democratization in the educational process management system. Based on the analysis of the research and experience of preparing the future teacher of technology, we have identified a number of conditions for continuous design training, among which the most important are the following: monitoring and correction of the level of readiness of future technology teachers to design and technological activities; technology of pedagogical assistance to the organization of continuous design training of students, based on the integration of design and rating technologies with the use of elements of personality development and innovative teaching methods; the formation of conscious self-regulation by students of their own educational and professional activities on the basis of unity of personal, artistic and technological components. Prospects for further exploration are the development of a model of a system of continuous design-training, which will take into account certain pedagogical conditions for the effectiveness of the organization of design training for future technology teachers in institutions of higher pedagogical education.

Cette étude sur les spectacles lyriques créés au théâtre des arènes de Béziers entre 1898 et 1911, se propose d'identifier les pratiques d'organisation et de composition, et les évolutions esthétiques de ce qui nous considérons comme un festival d'art lyrique. Le travail consiste d'abord à analyser la place qu'il occupe dans la ville, ainsi que son fonctionnement interne. Sous l'égide du directeur-mécène Castelbon de Beauxhostes, cet exemple de décentralisation artistique se présente comme une opportunité pour ses différents acteurs et collaborateurs, en même temps qu'il révèle une organisation assez semblable à celles des scènes parisiennes, jugées prestigieuses. En ce sens, il constitue une institution provinciale bourgeoise. Le travail consiste ensuite à analyser chaque composante dramaturgique : les dialogues, les mises en scène, et les musiques de scène. Inscrites dans la lignée du grand opéra français, les mises en scène illustrent aussi les nombreuses adaptations que nécessite le vaste cadre des arènes. Bien qu'ils partagent des socles communs, les poèmes et les musiques contiennent une cohabitation d'éléments issus de diverses époques ; un phénomène qui tend à s'accroître en fin de décennie. Face à la vogue wagnérienne, le festival propose des alternatives sur le plan des sujets (antiques, méditerranéens), de la réunion des arts, et de l'orchestration
In this study which focuses on the lyrical performances which were created at the theater of the arenas of Béziers between 1898 and 1911, the objective is to identify organizational and composition practices, and aesthetic developments of what we consider a lyrical art festival. The work consists first of analyzing the place it occupies in the city, as well its internal functioning. Under the aegis of the Director-financier Castelbon de Beauxhostes, this model of artistic decentralization is an opportunity for the different actors and collaborators, at the same time as it reveals an organization quite similar to those of the Parisian stages. In this sense, it constitutes a bourgeois provincial institution. The work then consists of analyzing each dramaturgical component : the dialogues, the stagings, and the incidental music. Inscribed in the line with those of the great French opera, the stagings also illustrate the numerous adaptations required by the vast framework of the arenas. Although it share common bases, poems and music contain a cohabitation of elements from various eras ; a phenomenon which tends to increase at the end of decade. Facing the Wagnerian vogue, the festival offers alternatives in terms of subjects (antiques, Mediterranean), the meeting of arts, and the orchestration

L’œuvre plurielle de Max Schoendorff (1934-2012) est approchée au regard du lieu de sa création : l’atelier de l’artiste. Ce lieu foisonnant de matériel, d’images, d’objets et de livres est emblématique de sa pensée. Il livre les traces de ses multiples activités. La monographie de l’artiste est fondée sur l’archéologie de ce laboratoire. Formé à la littérature classique,imprégné de culture allemande, rompu à la transgression, Schoendorff s’engage dès le milieu des années 1950 à Lyon aux côtés de Roger Planchon et d’un petit groupe d’intellectuels et de créateurs. Il s’affirme en tant qu’initiateur d’une décentralisation de la culture. Il trouve ensuite dans la peinture matière à se forger son propre langage, nourri de l’imaginairesurréaliste, de Max Ernst, des tourments métamorphiques d’une matière essentiellement organique. Sa pensée singulière s’exprime dans une œuvre protéiforme qui traverse les champs de la peinture, de la gravure, du livre et de la scénographie de spectacle. Libertaire et utopiste quant à ses convictions sociales et politiques, il s’engage en fondant la MAPRA, Maison des arts plastiques Rhône-Alpes, et l’URDLA, Centre international estampe et livre à Villeurbanne
The study of MS’s multivocal work is carried out through an on-site investigation of his workshop. The place, which reflects his philosophy, is full of materials, images, objects, and books. It bears testimony to his numerous activities. Indeed writing a monograph of the artist amounts to performing archeological fieldwork and excavation in his studio. Schoendorff studied classical literature, was well-versed on the subject of German culture, and enjoyed transgressing boundaries. As early as 1950, he was labelled as a committed artist together with RP and a small group of intellectuals and creators/designers from Lyon. Heconsidered himself as the initiator of cultural decentralization. He later devoted himself to painting and managed to create his own artistic language based on the surrealist imaginary world, Max Ernst’s production, and the metamorphic alteration of predominantly organic matter. His personal conception of art is expressed in his protean works which include paintings, engravings, books, and spectatorial scenography. A socio-political libertarian and utopian, he founded the MAPRA (Maison des arts plastiques Rhône-Alpes), the R-A Fine Arts Agency and the URDLA, the International Book and Lithography Centre (Centreinternational estampe et livre) in Villeurbanne

This book is a study of French musical centralization and its discontents during the period leading up to and beyond the “provincial awakening” of the Belle Époque. The book explains how different kinds of artistic decentralization and regionalism were hard won (or not) across a politically turbulent century from the 1830s to World War II. In doing so, it redraws the historical map of musical power relations in France. Based on work in more than seventy archives, chapters on conservatoires, concert life, stage music, folk music, and composition reveal how tensions of state and locality played out differently depending on the structures and funding mechanisms in place, the musical priorities of different town councils, and the presence or absence of galvanizing musicians. Progressively, the book shifts from musical contexts to musical content, exploring the pressure point of folk music and its translation into “local color” for officials who perpetually feared national division. Controlling composition, on the one hand, and the emotional intensity of folk-based musical experience, on the other, emerges as a matter of consistent official praxis. In terms of “French music” and its compositional styles, what results is a surprising new historiography of French neoclassicism, bound into and growing out of a study of diversity and its limits in daily musical life.

The rise of the platform economy into statelike dominance over the lives of entrepreneurs, users, and workers. The early Internet was a lawless place, populated by scam artists who made buying or selling anything online risky business. Then Amazon, eBay, Upwork, and Apple established secure digital platforms for selling physical goods, crowdsourcing labor, and downloading apps. These tech giants have gone on to rule the Internet like autocrats. How did this happen? How did users and workers become the hapless subjects of online economic empires? The Internet was supposed to liberate us from powerful institutions. In Cloud Empires, digital economy expert Vili Lehdonvirta explores the rise of the platform economy into statelike dominance over our lives and proposes a new way forward. Digital platforms create new marketplaces and prosperity on the Internet, Lehdonvirta explains, but they are ruled by Silicon Valley despots with little or no accountability. Neither workers nor users can “vote with their feet” and find another platform because in most cases there isn't one. And yet using antitrust law and decentralization to rein in the big tech companies has proven difficult. Lehdonvirta tells the stories of pioneers who helped create—or resist—the new social order established by digital platform companies. The protagonists include the usual suspects—Amazon founder Jeff Bezos, Travis Kalanick of Uber, and Bitcoin's inventor Satoshi Nakamoto—as well as Kristy Milland, labor organizer of Amazon's Mechanical Turk, and GoFundMe, a crowdfunding platform that has emerged as an ersatz stand-in for the welfare state. Only if we understand digital platforms for what they are—institutions as powerful as the state—can we begin the work of democratizing them.

AbstractPost-Internet art represents a challenge to previous artistic concepts that tended to view the utilization of networked digital technologies as either the fulfillment of utopian fantasies of ego destruction, or the dystopian realization of a posthuman nightmare. Post-Internet art oscillates between these two extremes, making use of numerous interrelated networks that are decentralized in nature. Formal schooling is generally centralized, and art education tends to operate in a similar manner within this system, regardless of attempts to substantially change the structure of the field. A comparison of these two different systems might offer art educators opportunities to rethink practices that have been virtually unaffected by decentralization.

This chapter explores the intersection of finance, art, and marketing in the new frontier of digital assets, specifically focusing on cryptocurrencies, NFTs, and the metaverse. The authors analyze the potential impact of these innovative technologies on traditional financial systems, art markets, and advertising strategies. Through a comprehensive examination of the concepts of blockchain, virtual reality, and decentralization, this chapter aims to provide insight into how these emerging digital assets can reshape the way people perceive and interact with financial, artistic, and marketing landscapes.

The study is devoted to the changes that have undergone since 1989, such an important area of the literary process as the market of literary and critical periodicals, experienced the «pros» and «cons» of the new system and changes in the position of the Word in the life of Polish society. The political change that contributed to the decentralization and diversity of literary life, led first to the flourishing, and then to the crisis of the market of literary-artistic and literary-critical publications, which is due to reasons not only economic (lack of finance), but also social and cultural (literature has lost its former significant place in public communication, decreased interest in the differentiation of society).

The music industry is facing challenges in engaging fans and providing transparency, feedback, and rewards. Blockchain technology presents a potential solution by enabling new forms of fan engagement and participation. This paper proposes a blockchain-based music platform that leverages Ethereum’s decentralized platform and smart contract functionality. Ethereum’s Proof of Stake (PoS) consensus algorithm makes it more energy-efficient than the Proof of Work (PoW) algorithm used by Bitcoin. The platform could facilitate investment in up-and-coming artists, feedback mechanisms, and rewards for fans. The scalability and decentralization of Ethereum make it an attractive choice for building a platform that can accommodate a large number of users and transactions without compromising performance. The proposed platform offers a secure, scalable, and decentralized solution that provides novel ways for fans to engage and participate in the music industry while being energy-efficient, sustainable, and accessible to everyone with a stake in the system.