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  • 2015-2024
  • Open Access
  • Open Source
  • Ukrainian
  • Digital Humanities and Cultural Her...

  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/

    One of the most interesting trends in modern jewelry and decorative arts is the use of natural forms in mineral products — unprocessed in general or partially processed. Most of these techniques are used by independent artists and small jewelry workshops, while the mass production of jewelry is based on established trends of equally faceted stones. Artists who make jewelry from beads have inherited this trend from jewelry artists. For traditional beadwork techniques until the beginning of the XXI century, the involvement of raw minerals was not carried out; instead, it was the millennium that became the beginning of a new trend. Luxurious collections are appearing all over the world, which are on the verge of decorative and jewelry art. The development of the Internet has created endless bases for learning and inspiration, thanks to which the methods of working with raw minerals in combination with beads have become well-known. The appeal to minerals of natural forms demonstrates a change in the worldview of artists — from the desire to adapt natural material to their needs to the ability to find an artistic concept of the product that would reveal the beauty of materials without artificial interference with their shape and texture. This article analyzes the principles of using minerals of natural forms in bead products. Such visual concepts embody a powerful layer of content: the ideas of greening, awareness of the power of the elements and, at the same time, the vulnerability of nature, are becoming increasingly common in the civilized world. Barbaric consumption of natural resources is slowly giving way to recovery. At the same time, the art of beadwork is one of the most famous and significant for Ukrainian culture. Historical aspects of the formation of beadwork in the country are considered. Issues such as the educational function of decorative arts are highlighted. The art of making jewelry, as one of the most common and most popular in the world, has absorbed a kind of educational function — a demonstration of the beauty of nature in its wild, untamed state; and the art of making beaded jewelry demonstrates the plasticity and versatility of this material. At the beginning of the XXI century, the direction of making bead frames in combination with large glass or mineral beads, pearls, metal, etc. is gaining ground. This article offers a product of the Ukrainian craftswoman “Baronessainred”, who creates beaded jewelry with a variety of minerals. It is worth noting that the article is a continuation of a series of articles on the trend of using minerals of raw forms in jewelry and decorative arts. Однією із найцікавіших течій сучасного ювелірного та декоративного мистецтва є використання у виробах мінералів природних форм — необроблених взагалі або частково оброблених. Здебільшого до таких прийомів звертаються самостійні митці та невеликі ювелірні майстерні, натомість масове виробництво прикрас базується на усталених тенденціях однаково огранених каменів. Митці, які виготовляють прикраси із бісеру, перейняли цю тенденцію від художників-ювелірів. Для традиційних технік бісероплетіння до початку ХХІ століття залучення необроблених мінералів не здійснювалося; натомість саме міленіум став своєрідним початком до зародження нової тенденції. У всьому світі з’являються розкішні колекції, які перебувають на межі декоративного і ювелірного мистецтва. Розвиток мережі інтернет створив безмежні бази для навчання та натхнення, завдяки яким прийоми роботи із необробленими мінералами в поєднанні з бісером стали загальновідомими. Звернення до мінералів природних форм демонструє зміну світогляду митців — від прагнення максимально прилаштувати природний матеріал під свої потреби до уміння знайти художню концепцію виробу, яка б максимально розкривала красу матеріалів без штучного втручання у їх форму та фактуру. В даній статті проаналізовано принципи використання мінералів природних форм у виробах із бісеру. Такі візуальні концепції втілюють потужний змістовний пласт: ідеї екологізації, усвідомлення потужності стихій та, водночас, беззахисності природи, набувають все більшого поширення у цивілізованому світі. Варварське споживання природних ресурсів повільно поступається місцем відновлюванню. Водночас для української культури мистецтво бісероплетіння є одним із найвідоміших та найбільш знакових. Розглядаються історичні аспекти становлення бісероплетіння на вітчизняних теренах. Висвітлено таку проблематику, як виховна функція декоративного мистецтва. Мистецтво виготовлення прикрас, як одне із найбільш поширених й найбільш затребуваних у всьому світі, увібрало у себе своєрідну виховну функцію — демонстрацію краси природи у її дикому, неприборканому стан; а мистецтво виготовлення прикрас із бісеру демонструє пластичність й багатогранність цього матеріалу. Напочатку ХХІ століття набуває поширення напрям виготовлення оправ із бісеру у поєднанні з крупними скляними або мінеральними намистинами, перлинами, металом та ін.. На території України поступ залучення мінералів природних форм розпочався із запізненням, проте нині дана тенденція набула надзвичайного поширення. Ця стаття пропонує до розгляду вироби української майстрині «Baronessainred», яка створює бісерні прикраси із залученням різноманітних мінералів. Варто зазначити, що стаття є продовженням циклу статей, присвячених тенденції використання мінералів необроблених форм у ювелірному і декоративному мистецтві.

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    Автор описує історію своєї родини через призму подій Другої світової війни.

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    Authors: Isaiko, Nika;

    The article is devoted to the research work on the study of cultural heritage and the development of a historical and architectural support plan of the city of Shumsk.Operating earlier Shumsk city master plan was not implemented. Therefore, the expiration of its term and the changes that took place in the state structure of the country, the legal framework and other areas determined the need to develop a new master plan of the city. The development of the historical-architectural support plan is an integral part of the complex of city-planning documentation of the historic city. Historical and architectural support plan of the Shumsk city, as a city listed on the list of historic settlements of Ukraine, was developed for the first time.Exploring the city and creating schemes of territorial planning and development was the natural terrain features that define the uniqueness of spatial planning and building of settlements, the main historical stages and identify the major structural elements. The analysis of urban structures of different times, the landscape and objects of cultural heritage has been carried out. Established historical areas of the city and zone of protection of monuments.The task of historical and architectural support program was the formation of conditions for preservation, as part of the historical architectural environment of the city and the definition of such regimes use security zones, which would give an opportunity to restore the lost integrity of historic urban environment. Розглянута науково-дослідна робота по дослідженню культурної спад- щини та розробці історико-архітектурного опорного плану м. Шумськ Терно- пільської області з визначенням меж та режимів зон охорони пам'яток, істо- ричних ареалів». Проведений аналіз містобудівних утворень різних часів, ланд- шафту та об’єктів культурної спадщини.

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    Дипломна робота містить 112 сторінок, 17 рисунків, 8 таблиць, 2 додатки, 20 джерел. Ця дипломна робота присвячена розробці чат-бота на основі методів навчання з підкріпленням. Чат-боти стають все більш популярними інструментами для спілкування та взаємодії з користувачами в різних додатках, включаючи соціальні мережі, месенджери та веб-сайти. Використання методів навчання з підкріпленням дозволяє розробити чат-бота, який може самостійно навчатися та вдосконалювати свої навички шляхом взаємодії з оточуючим середовищем. Для реалізації чат-бота було використано популярний фреймворк машинного навчання з підкріпленням і здійснено розробку та тренування моделі. Розроблено програмний продукт мовою програмування Python. Основною метою цієї роботи є створення ефективного та взаємодіючого чат-бота, який здатний розуміти запити користувачів та надавати змістовні відповіді, використовуючи методи навчання з підкріпленням. Результати дослідження та розробки включають оцінку продуктивності та ефективності чат-бота, а також аналіз якості його відповідей. Отримані результати свідчать про потенційні можливості та переваги використання методів навчання з підкріпленням у розробці чат-ботів. Використання цих методів дозволяє покращити рівень взаємодії та якості послуг, що надаються користувачам. Дана робота може послужити основою для подальших досліджень та розробок в галузі розумних чат-ботів та розширити наше розуміння можливостей застосування методів навчання з підкріпленням у цій області.

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    The article is devoted to the interpretation ofthe constructive ideas presented at the X-th Conference of the Slavonic Philosophers “Person in relation to history and conception of the future” (Iwonicz, Poland, 2017), organized by Slavonic Philosophers Association, editorial board of the ΣΟΦΙΑJournal of the Philosophers of Slavonic Countries and Institute of Philosophy, Rzeszow University. It also tells about significance of these ideas for the development of the Ukrainian philosophy of education, in particular, for the development of the methodology and approaches of biographical teaching, its implementation in the educational process as a practical model for shaping the attitude of person to history and the future. Biographical study is considered as a process of developing a model of a person's practical relation to history and the future, aimed at solving the problems of choosing life scenarios and critical analysis of the past in order to overcome ideological deformationscaused by futurophobia, loss of life meaning, social and planetary crises. The reports of the Conference of Slavonic philosophers emphasized the role of philosophy as an inspiration ofscience and recognized significance of philosophy as a powerful impulse to find ways to achieve social progress and personal success, outlined the range of the most pressing problems as a series of crises of a modern person and his/her culture - anthropological, internal, ideological, futurophobia and his/her avoiding the critical analysis of the past, loss of life meaning and the guidelinesfor choosing life scenarios. Constructive involving of biographical method of teaching intothe system of pedagogical strategies in teaching the most of the academic disciplines ingeneral secondary education, as well as in pedagogical education help to solve above-mentioned crises. The methods and principles for the implementation of biographical studies are disclosed through the concept of a biography as a time capsule that is deliberately or subconsciously produced by each individual. It has been established that the development “open to the past and the future” person can be empowered by method of alternative history in biographical teaching, development ability for polarity perception of his/her past and mastering technology of "decisive changes", that means the application and selection of such life scenarios, those have the potential of actual implementation in the nearest future and present, and promote personal self-confidence and in his/her biographical development.

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    ZENODO
    Article . 2019
    License: CC BY
    Data sources: Datacite
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    Authors: Motîli, R.; Motyl, R.;

    У сучасних умовах глобалізації культурних цінностей інатліповно масштабного російського вторгнення в Україну все більшої актуальності набуває звернення до спадщини народного мистецтва як маркерів національної ідентичності. Кераміка Косова ndash; одна з перлин українського народного мистецтва, добре знана в Україні та за кордоном. Вона є своєрідним, яскравим явищем, що має давню історію, багаті мистецькі традиції та самобутні локальні особливості. Упродовж століть стиль кераміки Косова шліфували династії гончарів, створюючи оригінальні візерунки, колористику, техніки виготовлення та розпису. Унікальність косівської кераміки визнана на світовому рівні. 13 грудня 2019 року під час 14-ї сесії Міжурядового комітету з охорони нематеріальної культурної спадщини в столиці Колумбії Боготі мальовану кераміку Косова включено до Репрезентативного списку нематеріальної культурної спадщини ЮНЕСКО. Сьогодні керамістів на Косівщині чимало, і вони можуть дозволити собі як розкіш збереження традицій, так і новації. Серед десятків імен сучасних майстрів можна назвати Марію Гринюк, Ірину Заячук-Серьогіну, Василя і Юрія Стрипків, Іванну Козак-Ділету, Валентину Джуранюк, Уляну Шкромrsquo;юк, Романа та Людмилу Якібчуків, Ігора, Христину та Терезу Троць, Олександру та Віталія Кушнірів, Василя і Юрія Стрипків,nbsp;Сергія Дутку, Василя Перегінця та інших. Одні з любовrsquo;ю доглядають та оновлюють торований талановитими предками шлях, другі ndash; прокладають нові стежки, а усі разом зберігають та розвивають найкращі надбання попередніх поколінь.

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    One of the most interesting trends in modern jewelry and decorative arts is the use of natural forms in mineral products — unprocessed in general or partially processed. Most of these techniques are used by independent artists and small jewelry workshops, while the mass production of jewelry is based on established trends of equally faceted stones. Artists who make jewelry from beads have inherited this trend from jewelry artists. For traditional beadwork techniques until the beginning of the XXI century, the involvement of raw minerals was not carried out; instead, it was the millennium that became the beginning of a new trend. Luxurious collections are appearing all over the world, which are on the verge of decorative and jewelry art. The development of the Internet has created endless bases for learning and inspiration, thanks to which the methods of working with raw minerals in combination with beads have become well-known. The appeal to minerals of natural forms demonstrates a change in the worldview of artists — from the desire to adapt natural material to their needs to the ability to find an artistic concept of the product that would reveal the beauty of materials without artificial interference with their shape and texture. This article analyzes the principles of using minerals of natural forms in bead products. Such visual concepts embody a powerful layer of content: the ideas of greening, awareness of the power of the elements and, at the same time, the vulnerability of nature, are becoming increasingly common in the civilized world. Barbaric consumption of natural resources is slowly giving way to recovery. At the same time, the art of beadwork is one of the most famous and significant for Ukrainian culture. Historical aspects of the formation of beadwork in the country are considered. Issues such as the educational function of decorative arts are highlighted. The art of making jewelry, as one of the most common and most popular in the world, has absorbed a kind of educational function — a demonstration of the beauty of nature in its wild, untamed state; and the art of making beaded jewelry demonstrates the plasticity and versatility of this material. At the beginning of the XXI century, the direction of making bead frames in combination with large glass or mineral beads, pearls, metal, etc. is gaining ground. This article offers a product of the Ukrainian craftswoman “Baronessainred”, who creates beaded jewelry with a variety of minerals. It is worth noting that the article is a continuation of a series of articles on the trend of using minerals of raw forms in jewelry and decorative arts. Однією із найцікавіших течій сучасного ювелірного та декоративного мистецтва є використання у виробах мінералів природних форм — необроблених взагалі або частково оброблених. Здебільшого до таких прийомів звертаються самостійні митці та невеликі ювелірні майстерні, натомість масове виробництво прикрас базується на усталених тенденціях однаково огранених каменів. Митці, які виготовляють прикраси із бісеру, перейняли цю тенденцію від художників-ювелірів. Для традиційних технік бісероплетіння до початку ХХІ століття залучення необроблених мінералів не здійснювалося; натомість саме міленіум став своєрідним початком до зародження нової тенденції. У всьому світі з’являються розкішні колекції, які перебувають на межі декоративного і ювелірного мистецтва. Розвиток мережі інтернет створив безмежні бази для навчання та натхнення, завдяки яким прийоми роботи із необробленими мінералами в поєднанні з бісером стали загальновідомими. Звернення до мінералів природних форм демонструє зміну світогляду митців — від прагнення максимально прилаштувати природний матеріал під свої потреби до уміння знайти художню концепцію виробу, яка б максимально розкривала красу матеріалів без штучного втручання у їх форму та фактуру. В даній статті проаналізовано принципи використання мінералів природних форм у виробах із бісеру. Такі візуальні концепції втілюють потужний змістовний пласт: ідеї екологізації, усвідомлення потужності стихій та, водночас, беззахисності природи, набувають все більшого поширення у цивілізованому світі. Варварське споживання природних ресурсів повільно поступається місцем відновлюванню. Водночас для української культури мистецтво бісероплетіння є одним із найвідоміших та найбільш знакових. Розглядаються історичні аспекти становлення бісероплетіння на вітчизняних теренах. Висвітлено таку проблематику, як виховна функція декоративного мистецтва. Мистецтво виготовлення прикрас, як одне із найбільш поширених й найбільш затребуваних у всьому світі, увібрало у себе своєрідну виховну функцію — демонстрацію краси природи у її дикому, неприборканому стан; а мистецтво виготовлення прикрас із бісеру демонструє пластичність й багатогранність цього матеріалу. Напочатку ХХІ століття набуває поширення напрям виготовлення оправ із бісеру у поєднанні з крупними скляними або мінеральними намистинами, перлинами, металом та ін.. На території України поступ залучення мінералів природних форм розпочався із запізненням, проте нині дана тенденція набула надзвичайного поширення. Ця стаття пропонує до розгляду вироби української майстрині «Baronessainred», яка створює бісерні прикраси із залученням різноманітних мінералів. Варто зазначити, що стаття є продовженням циклу статей, присвячених тенденції використання мінералів необроблених форм у ювелірному і декоративному мистецтві.

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    Автор описує історію своєї родини через призму подій Другої світової війни.

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    Authors: Isaiko, Nika;

    The article is devoted to the research work on the study of cultural heritage and the development of a historical and architectural support plan of the city of Shumsk.Operating earlier Shumsk city master plan was not implemented. Therefore, the expiration of its term and the changes that took place in the state structure of the country, the legal framework and other areas determined the need to develop a new master plan of the city. The development of the historical-architectural support plan is an integral part of the complex of city-planning documentation of the historic city. Historical and architectural support plan of the Shumsk city, as a city listed on the list of historic settlements of Ukraine, was developed for the first time.Exploring the city and creating schemes of territorial planning and development was the natural terrain features that define the uniqueness of spatial planning and building of settlements, the main historical stages and identify the major structural elements. The analysis of urban structures of different times, the landscape and objects of cultural heritage has been carried out. Established historical areas of the city and zone of protection of monuments.The task of historical and architectural support program was the formation of conditions for preservation, as part of the historical architectural environment of the city and the definition of such regimes use security zones, which would give an opportunity to restore the lost integrity of historic urban environment. Розглянута науково-дослідна робота по дослідженню культурної спад- щини та розробці історико-архітектурного опорного плану м. Шумськ Терно- пільської області з визначенням меж та режимів зон охорони пам'яток, істо- ричних ареалів». Проведений аналіз містобудівних утворень різних часів, ланд- шафту та об’єктів культурної спадщини.

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