From a Work to an "Open" Work: Research Experience

The subject of this study is the concept of "open" work, proposed by U. Eco. Based on the ideas of U. Eco, the authors interpret the "open" work in several aspects: compositional, semantic, and compositional-semantic. Compositional openness emerges in aleatoric works. The tendencies to openness are found in compositions written with the use of "non-deterministic" notation. Works that are "open" in the semantic sense have encoded meanings, the decoding of which requires the involvement of contextual meanings. Compositional-semantic openness emerges in Net Art. Cognition of the specifics of "open" works required a study of the history of the traditional "closed" work, it's becoming and evolution in a historical perspective. The concept of "work" is investigated in conjunction with the concepts of "authorship", "creativity", "musical text", "performance", "perception", etc. It was demonstrated that the meaning of these concepts substantially changes in the context of dynamic history and culture. In modern culture, these concepts have lost their usual shape and have substantially transformed due to rapid development of computer technology and the Internet

The Prospects of the Arts Promotion in the Context of Limitations and Consequences of Self-Isolation

The rapid development of events related to the coronavirus pandemic has led to a crisis not only in the financial sector, but also in the field of art and culture. According to various international organisations, losses for the sphere of culture and art amount to tens of billions of dollars due to the forced quarantine. Museums and philharmonic societies closed and hundreds of concerts were cancelled. The artists faced a problem – to find and involve an audience in their work, contacting them only via the Internet. Many cultural institutions were able to transfer their resources to the digital sphere quite quickly (using digital resources). The relevance of the study is due to the fact that the crisis brought about by the coronavirus pandemic forced representatives of the cultural and artistic sector to look for new forms of functioning and communication with the audience. In this regard, this paper is aimed at identifying the consequences of forced self-isolation on the development of art and creativity of specific cultural figures. The leading method for the study of this subject is the method of analysis, which makes it possible to comprehensively assess the following areas: the activities of Ukrainian and world museums, theatres and philharmonic societies during quarantine, their methods of maintaining communication with the audience; the theme of the work of artists and illustrators during the pandemic, their ways to share their work without the possibility of organising exhibitions and art residences; work of musicians in isolation. One of the main conclusions in this situation was the need to use digital technologies as a platform to demonstrate the results of the creative process. Another important issue remains the search for new funding opportunities for the cultural sector during a crisis, since dependence on the state budget and donors can be unstable