Light music as an effective means of integrating movement in design and artistic practice of the last quarter of the XXth century

Abstract

The publication is a continuation of the author's series on synaesthetic theory and its application in design practice of the 20^th century. Methods corresponding to the systematic art history approach are used: sociological, in which culture is considered as a factor in the organization of public life and the formation of intellectual landscape, biographical for analyzing the main periods of these artists' creative activity, and systematic for stating the ways in which the movement is transmitted in environmental projects and artistic practices. The methodology of field research gave the work practical significance through the content of interviews with participants in cultural and artistic processes. The problem of using light and music techniques in domestic design and art projects of the last quarter of the 20^th century is highlighted. Concrete examples prove that kineticism at the end of the 20th century played the role of a kind of laboratory for the study of the variability of the world as a new potentiality, and light and music were chosen as popular means of integrating the idea of ​​movement into everyday life. Popular centers and circles of light music interests and public demonstrations in Ukraine in the 1960^s and 1970^s are named. Special attention is paid to the transition from the theoretical and experimental researches of Alexander Scriabin, Mikaloyus Čiurlionis, Mykola Roerich, Florian Yuriev to the practical application of light music in spectacular culture and design practice. The works of Daniel Fridman, Georgy Larionov, Serhiy Pravdyuk, Bohdan Gubal, Alla Dutkivska, Petr Starukh, Myroslav Yaremak were analyzed. For the first time, a complete description and addition of little-known environmental and clothing design projects is presented, installations and performances in which light dynamics were used to convey movement are analyzed. It was determined that the recognition of the potential possibilities of light music as a harmonizing material in the late 1970^s – early 1980^s caused the active and conscious use of its elements in project activities. An important constant of innovations remained the understanding of the observance of communicative functions between all components of syncretic species with the dominance of the expressive function. At the same time, experiments with music, color and light in spatial and temporal formations were components of the process that actively influenced the formation of new relationships between the audience and works of art.