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В настоящее время достаточно активно развиваются арт-направления. Арт-терапия все больше привлекает внимание практикующих психологов, арт-технологии успешно применяются педагогами в ходе образовательного процесса. В данной работе рассмотрим существующие подходы к понятию арт-технологий, проанализируем возможности применения арт-технологий в вузе, сложности и ограничения, с которыми может столкнуться преподаватель в ходе применения арт-технологий, обсудим опыт применения некоторых арт-технологий в вузе. Currently, art trends are actively developing. Art therapy is increasingly attracting the attention of practicing psychologists, art technologies are successfully used by teachers in the course of the educational process. In this paper, we will consider the existing approaches to the con-cept of art technologies, analyze the possibilities of using art technologies at a university, the difficulties and limitations that a teacher may face in the course of applying art technologies, and discuss the experience of using some art technologies at a university.

Мақалада болашақ педагогтардың арт-технологиялық іс-әрекетін қалыптастырудың маңызы мен мәні анықталды. Болашақ мұғалімдердің шығармашылық және бейнелеу іс-әрекетіне даярлығын қалыптастыру қағидалары белгіленді. Болашақ педагогтардың арт-технологиялық іс-әрекетін қалыптастырудың құрылымдық-мазмұндық моделі ашып көрсетілді. Жоғары оқу орнының ерекшелігін ескере отырып жалпы дидактикалық, болашақ мұғалімнің кәсіби даярлығының педагогикалық негізін құрайтын дидактикалық қағидалар, шығармашылық арт-технологиялық іс-әрекетке дайындықты қалыптастыру қағидаларын басшылыққа алынды. мүндағы, жалпы дидактикалық қағидалар: ғылымилық, студенттердің өзіндік ізденісі мен оқытушылардың ғылыми-зерттеу жұмыстарының сабақтастылығы; оқытушы мен студенттің іс-әрекетіндегі ғылыми және практикалық қағидалардің бірлігі, кәсіби ұтқырлық, проблемалық, эмоционалдылық және оқу процесінің басымдылығына мән беру, әлеуметтік-мәдени-интеграциялық қағидасы негізге алынды.Арт-технологиялар-бұл білім беру процесінде тұлғаның шығармашылық әлеуетін дамытуға бағытталған әртүрлі өнер түрлерінің формалары, әдістері мен құралдарының жиынтығы.Мақаланың мақсаты болашақ көркем еңбек пәні мұғалімдерінің арт-технологиялық іс-әрекетін қалыптастырудың құрылымдық-мазмұндық моделін ашып көрсету. Болашақ педагогтардың арт-технологиялық іс-әрекетін қалыптастыруда: жүйелілік ұстаным, мәдениеттанушылық және этнопедагогикалық ұстанымдар негізге алында. Сонымен қатар, болашақ педагогтардың арт-технологиялық іс-әрекетін қалыптастырудың құрылымдық-мазмұндық моделі үш функционалды блокты қамтитын жүйе болып табылады: мақсатты блок; мазмұндық блок; рефлексивті-бағалау блогы. Болашақ педагогтардың арт-технологиялық іс-әрекетін қалыптастыруға арналған модельдің мазмұндық блогы дайындықтың келесі кезеңдерін - мотивациялық, когнитивті-мазмұндық, іс-әрекеттік, өлшемдік-рефлексивті компоненттерді қамтиды. Модельде адамға қатысты құндылықтық-семантикалық қатынастарды қалыптастыру, тұлғаны қалыптастыру процесі, арт-технологиялық іс-әрекеттің маңызын ұғындыру мәселесі назарға алынды.Болашақ педагогтардың арт-технологиялық іc-әрекетке даярлауды жүзеге асыруда ұйымдастырушылық, басқарушылық, психологиялық шарттарына назар аударылды., В статье определены сущность и значение формирования арт-технологической деятельности будущих педагогов. Выявлены принципы формирования готовности будущих учителей к творческой и изобразительной деятельности. Предложена структурно-содержательная модель формирования арт-технологической деятельности будущих педагогов. Исходя из специфики вуза, мы руководствовались принципами общей дидактики: научности, преемственности самостоятельного поиска студентами и научно-исследовательской работы преподавателей; единства научных и практических принципов в деятельности преподавателя и студента, профессиональной мобильности, проблемности, эмоциональности и внимания к приоритетности учебного процесса, принцип социокультурной интеграции.Арт-технология – это совокупность форм, методов и средств постижения различных видов искусства, способствующих развитию творческого потенциала личности.Цель статьи: раскрыть структурно-содержательную модель формирования арт-технологической деятельности будущих учителей художественного труда.Методологическим основанием модели служат системный, культурологический и этнопедагогические подходы.Структурно-содержательная модель формирования арт-технологической деятельности будущих педагогов представляет собой систему из трёх функциональных блоков: целевой, содержательный и рефлексивно - оценочный.Теоретический базис модели составляют: мотивационный, когнитивно-содержательный, деятельностный, критериально-рефлексивные компоненты. В моделье рассматривается проблемы формирование ценностно-смысловых отношений по отношению к человеку, процесс формирования личности, понимание сущности художественно-технологической деятельности. Эффективность реализации модели обеспечивают организационные, управленческие и психологические условия, действие, профессиональная компетентность, условие., The article defines the essence and significance of the formation of art-technological activities of future teachers. The principles of the formation of future teachers' readiness for creative and visual activity are revealed. A structural-conceptual model of formation of future teachers' art-technological activities has been developed. Considering the specifics of the university, we proceeded from the principles of general didactics: scientific character, succession of students' independent search and scientific-research work of teachers; cohesion of scientific and practical principles in the activities of a teacher and a student, professional mobility, problematicity, emotionality and attention to the priority of the educational process.Art technologies are a set of forms, methods and means of various types of art aimed at developing the creative potential of an individual in the educational process.The purpose of the article is to reveal the structural and content model of the formation of art-technological activities of future teachers of art work. The formation of art-technological activities of future teachers is based on the following principles: systematic, cultural and ethnopedagogic. At the same time, the structural and content model of the formation of art-technological activities of future teachers is a system that includes three functional blocks: target block;-content block; reflexive-evaluation block. The content block of the model for the formation of art-technological activities of future teachers includes the following stages of training-motivational, cognitive - content, activity, dimensional-reflexive components. . In the model, the problems of forming value-semantic relations in relation to a person, the process of personality formation, understanding the essence of artistic and technological activity are changing.Attention was paid to the organizational, managerial, and psychological conditions of future teachers in preparing them for art-technological activities., Педагогические науки, Выпуск 1 (64) 2022

The main attention in modern higher education is given to art education along with the professional development and preparation of students in pedagogical universities – future teachers. In pedagogy, large educational potential is gathered from experience, which uncovers different aspects of establishment in the educational sphere, based on artistic and aesthetic fields. The concept of modern education requires system-activity approaches to learning. Various aspects of the problem of art therapy attract the attention of teachers, psychologists, psychotherapists T.Boronskaya, O.Voznesenskaya, R.Goodman, T.Delli, O.Drevytska, L.Komissarova, A.Kopytin, E.Kramer, D.Laub, L.Lebedevа, N.Rogers, D.Weller and others. The effectiveness of art therapy is to provide a polyartistic and integrative approach, the possibility of using interactive teaching methods and artistic communication. The goal of this article is to highlight the need for art-pedagogic space as innovative environments for artistic growth and the professional preparation of students of the educational sphere. Modern teaching cannot be imagined without the implementation of innovative technologies. Meanwhile, a teacher’s arsenal must have a vast assortment of them. Art-technologies are used in the educational process more and more frequently at different educational levels. In this article the problem surrounding professional development and preparation for the realization of the goals and purposes of pedagogy, with the ability to apply art technologies in professional fields is presented. The mastery of art technologies by future pedagogues protects the possibility of connections to children and relies on visual, graduated, and audio communication. An analysis of pedagogic literature and experience in this article allows for the noticing of the reliability and perspective of the implementation of art technologies, and synthesis of art and pedagogy based on the interaction of personalities with different types of art and branches of artistic activities in the preparation and professional development of students of pedagogy. In the preparation of future teachers, the theoretical and scientific basis of the use of art technologies is essential. In this article the technologies and methods used in modern pedagogic experience which allow future pedagogues to build competence for future professional experience in schools is characterized., Автором статті приділяється особлива увага арт-супроводу професійної підготовки студентів педагогічних університетів – майбутніх вчителів. Метою даної статті є висвітлення необхідності створення арт-педагогічного простору як інноваційного середовища для творчого розвитку і професійної підготовки студентів педагогічних вишів. У статті представлена проблема підготовки вчителів до реалізації цілей і завдань педагогіки, здатністю застосовувати арт-технології у професійній діяльності. Оволодіння майбутніми педагогами арт-методами забезпечує можливість контакту з дитиною і спирається на різні види візуальної, пластичної, аудіо комунікації. Аналіз наукової літератури, педагогічного досвіду у статті дозволяє зазначати актуальність і перспективність впровадження в освітній процес підготовки студентів вузів арт-технологій, синтез мистецтва і педагогіки, заснованої на взаємодії особистості з різними видами мистецтва і галузями художньої творчої діяльності. У підготовці майбутніх вчителів необхідна науково-методична і теоретична основа використання арт-технологій. Автором статті охарактеризовані технології і методики, які використовуються у власному педагогічному досвіді та дозволяють майбутнім педагогам набути компетенції для майбутньої професійної діяльності в школі, розглянуті питання професійної підготовки педагогів та їх професійного становлення.

The purpose of the article is to find out the technology role in art in general and in theater in particular. The prerequisite of such question is the indisputable fact that art, regarded as artistic creation, is one of the production types. This truth is fixed by language practice: an object of art (artifact) has long been called a work, that is, a product of production. Being a special (“spiritual”, and at the same time – artistic!) Production, art in general, and theatrical in particular, has all the basic properties of “production in general”, including organizational, economic and technological. Research methods. Historical is to study the evolution forms of production (including artistic); systemic is when considering an art work as a special, “closed” interaction system of its components is worldview (ideological), psychological, technical and technological; general scientific analysis and synthesis are to build a scientific art concept as a knowledge means, expression and creation. The scientific novelty of the research consists in the fact that for the first time a special significance in the technology artistic creation has been proved. Defining, as in ordinary production, that is, the material goods production, the social organization forms of labor (individual production, cooperation, manufactory, factory, industry), the artistic creativity technology, moreover, characterizes the specifics of each art type with its “craft”, “industrial” side. Conclusions. Art is considered as production (spiritual, and at the same time, artistic, but production!) And technology as the logic of this production proves that technology is not only “hostile” to art, but, on the contrary, it is deeply inherent in it: it represents the art poetics and determines the specifics of each art form from its practical, “craft”, side., Цель исследования – выяснить роль технологии в искусстве вообще и в театральном в частности. Предпосылкой такой постановки вопроса является неоспоримый факт, что искусство, рассматриваемое как художественное творчество, представляет собою одну из разновидностей производства. Эта истина зафиксирована языковой практикой: предмет искусства – артефакт (от лат. art (искусство) и facio (делать, изготовлять) – у нас издавна называется произведением, то есть продуктом производства. Будучи особым («духовным», при том – художественным!) производством, искусство вообще, а театральное в частности, имеет все основные свойства «производства вообще», в том числе организационные, экономические и технологические. Методы исследования. Исторический – для исследования эволюции форм производства ( в том числе художественного); системный – при рассмотрении произведения искусства как особой, «закрытой» системы взаимодействия его составляющих – мировоззренческих (идеологических), психологических и техникотехнологических; общенаучные анализа и синтеза– для построения научной концепции искусства как средства познания, самовыражения и созидания. Научная новизна исследования состоит в том, что впервые доказывается особое значение в художественном творчестве технологии. Определяя, как и в обычном производстве, то есть производстве материальных благ, формы общественной организации труда (индивидуальное производство, кооперация, мануфактура, фабрика, индустрия), технология художественного творчества, сверх того, характеризует специфику каждого вида искусства с его «ремесленной», «промышленной» стороны. Выводы. Рассмотрение искусства как производства (духовного, при том – художественного, но – производства!) и технологии как логики этого производства, доказывает, что технология не только не «враждебна» искусству, а, наоборот, – глубоко присуща ему: осознанная в своей закономерности, она представляет собой поэтику искусства и определяет специфику каждого вида искусства с его практической, «ремесленной», стороны., Мета дослідження – з’ясувати роль технології в мистецтві загалом та в театральному зокрема. Передумовою для такої постановки питання є той незаперечний факт, що мистецтво, що розглядається як художня творчість, становить собою один із різновидів виробництва. Ця істина зафіксована в мовній практиці: предмет мистецтва – артефакт (від лат. art (мистецтво) та facio (робити, виробляти) – у нас здавна називається твором, виробом, продуктом, тобто результатом продукування, виробництва. Як особливе («духовне», до того ж – художнє!) виробництво, мистецтво в цілому, а сценічне зокрема, має всі сутнісні ознаки «виробництва взагалі», в тому числі економічні, організаційні й технологічні. Методи дослідження. Історичний – для дослідження еволюції форм виробництва (в тому числі художнього); системний – у розгляді твору мистецтва як особливої, «закритої» системи взаємодії його складників – світоглядних (ідеологічних), психологічних і техніко-технологічних; загальнонаукові аналізу й синтезу – для побудови наукової концепції мистецтва як засобу пізнання, самовираження й творення. Наукова новизна результатів дослідження полягає в тому, що вперше доводиться особливе значення в мистецтві технології створення мистецького твору. Визначаючи, як і в звичайному виробництві, тобто у виробництві матеріальних благ, форми суспільної організації праці (індивідуальне виробництво, кооперація, мануфактура, фабрика, індустрія), технологія художньої творчості, більше того, характеризує специфіку кожного виду мистецтва з його «ремісничого», «промислового» боку. Висновки. Розгляд мистецтва як виробництва (духовного, до того ж, – художнього, проте – виробництва!) і технології як логіки цього виробництва, доводить, що технологія не тільки не «ворожа» мистецтву, а, навпаки, – глибоко притаманна йому: усвідомлена в своїй закономірності, вона становить собою поетику мистецтва і визначає специфіку кожного виду мистецтва з його практичної, «ремісничої», сторони.

В статье раскрыта проблематика изучения изобразительного искусства в условиях инклюзии, описан отечественный и зарубежный опыт образования в инклюзивной среде. Для решения поставленных проблем автор предлагает расширить содержание специальных обучающих программ, введение курсов по выбору и факультативов, а также создание вариативных моделей интегрированного обучения для педагогов и учителей, предполагающее использование арт-технологий, обеспечивающих эффективную реализацию интеграции ребенка с ОВЗ в пространство общего образования., The article focuses on the problems of studying art in the context of inclusion, describes the Russian and foreign experience of education in an inclusive environment. In order to address the issues, it is suggested to expand the content of the existing special education programs, introduce elective courses and extracurriculars, as well as create variatiable intergrative learning models for teachers, which suggest the use of art technologies that effectively include children with special needs into the general educational process.

Jenny Boulboullé demonstrates in this article how multi-layered and open-ended manuals could be. She focuses on the so-called Mayerne manuscript, a seventeenth-century source text, comprising more than 300 recipes and ‘how-to’ instructions. Many of the entries are dated and include geographical and professional information that identify artisans and master painters as sources of detailed descriptions of materials and techniques. The article deconstructs an interpretation of Theodore de Mayerne’s recipe compilation as a handbook intended for practical use, and instead shows that many voices lay behind Mayerne’s extensive documentation of artisanal know how. Boulboullé argues that the manuscript was perhaps never intended for publication, but that it provides an exceptional testimony to the practice of an early modern ethnographer of artisanal working methods. A closer look at Mayerne’s practice of note taking as a physician suggests that it functioned as a working tool to document technical and artisanal knowledge of materials.

Объектом исследования является музей современного искусства Эрарта Целью выпускной квалификационной работы является оценка коммерческой и маркетинговой выгоды от внедрения приложения дополненной реальности в музей современного искусства Эрарта. Были изучены особенности Ñ‚ÐµÑ Ð½Ð¾Ð»Ð¾Ð³Ð¸Ð¸ дополненной реальности как в целом, так и в музейном пространстве. Проведена оценка возможности и целесообразности внедрения приложения дополненной реальности. Была оценена маркетинговая выгода от внедрения приложения дополненной реальности. Проведена оценка коммерческой эффективности. Рассчитаны простой срок окупаемости и простая норма прибыли. Внедрение приложения дополненной реальности в музей со-временного искусства Эрарта приведет к повышению чистой прибыли организации., The object of the research is the Erarta Museum of Contemporary Art. The goal of the final qualifying work is to assess the commercial and marketing benefits from the introduction of the application of aug-mented reality in the Erarta Museum of Contemporary Art. The features of augmented reality technology were studied both in general and in the museum space. The assessment of the possibility and expediency of the implementation of augmented reality application was carried out. The marketing benefit from the implementation of the augmented reality application was evaluated. A commercial performance assessment was conducted. Simple payback period and simple rate of return were calculated The introduction of the augmented reality application into the Erarta Museum of Contemporary Art will lead to an increase in the organi-zation’s net profit.

Lisansüstü tezlerin elektronik ortamda toplanması, düzenlenmesi ve erişime açılması konusuna ilişkin yök'ün 18.06.2018 tarihli yönergesine istinaden artık bu tarihten sonra gizlilik şartı aranmayan bütün tezler erişime açılacaktır. Teknolojinin Resim Sanatına Getirdiği Yenilikler Bağlamında Dijital Resim İnsanlık tarihiyle yaşıt olan resim sanatı, dünden bugüne gelişen teknolojiden sürekli etkilendiği bir süreç yaşamaktadır. İnsanoğlu doğayı anlama çabasıyla eş zamanlı olarak kendini ifade etmenin iki boyutlu bir türüyle çizgi, şekil ve nihayetinde resmi kullanmıştır. Bu nedenle uygarlıklar ile sanatın gelişmesi sürekli bir etkileşim içinde olduğu görülmektedir. Sanat her dönemde çağ ile sürekli bir ilişki içerisine girmiştir. Günümüzde de sanat-teknoloji birlikteliğinin en yüksek düzeyde devam ettiği görülmektedir. Bu olgu sayesinde 21. yüzyıldaki sanatın teknolojiyle buluşması, farklı biçimlerde de olsa sanatın birçok disiplinlerinde önemli izler bırakmıştır. Bu bağlamda kullanılan malzeme çeşitliliği ve tekniklerin farklılaşmasıyla sanatsal ürünler değişmiş ve sanatta yeni kimlik arayışları başlamıştır. Bilişim teknolojilerine eş zamanlı olarak internet altyapısının da baş döndürücü gelişimi, yeni sanat dallarını ortaya çıkartmış ve sanatçılar özgünlüklerini bu yolla ifade etmeye başlamışlardır. Bu araştırmanın amacı, günümüz teknolojisinin plastik sanatlar bağlamında sanat eğitimine, dijital sanata ve resim becerilerine olan katkısını incelemek, geleneksel ve dijital yolla elde edilen ürünler üzerinde değerlendirmeler yapmaya çalışmaktır. Nitel bir araştırma olan bu çalışmada döküman inceleme yöntemi kullanılmış ve çalışılan araştırma problemine ilişkin yazılı ve görsel materyaller incelenmiştir. Sözü edilen değişimler sonucu oluşan yeni dijital sanat akımlarının ürünleri bu araştırmanın veri kaynağı olarak kullanılmış ve üzerinde eser analizleri yapılmıştır. Ayrıca araştırma probleminin anlaşılır hale gelmesi için araştırmanın bulgular bölümünde Adobe Photoshop, Corel Painter ve Autodesk SketchBook programlarıyla örnek sanatsal uygulamalar üretilmiştir. Sonuç olarak, anılan programlarla resim oluşturma aşamaları uygulamalar desteğiyle incelenmiş ve gerekli donanımlar ve yazılımlar hakkında bilgiler verilmiştir. Böylece dünyadan ve Türkiye'den örnek çalışmaların analizleriyle yeni neslin, resim sanatındaki ve sanat eğitimindeki değişim ve gelişime uyum sağlamalarına katkı sağlanmaya çalışılmıştır. The art of painting, which began simultaneously with the history of mankind, has been experiencing a process that has been constantly affected by the developing technology. Simultaneously with the effort to understand nature, human beings used line, figure and ultimately the picture with a two-dimensional type of self-expression. Therefore, it is obvious that the development of art and civilization is in permanent interaction. Art has always been in a constant relationship with the age. Today, it is seen that the art-technology togetherness continues at the highest level. Thanks to this phenomenon, the meeting of the 21st century art with technology has left important traces in many disciplines of art, albeit in different forms. In this context, with the diversification of materials and techniques, artistic products have changed and the search for new identities in art has begun. Simultaneously to the information technology, the dizzying development of internet infrastructure has revealed new branches of art and artists have begun to express their originality in this way. The aim of this study is to examine the contribution of contemporary technology to art education, digital art and painting skills in the context of plastic arts and to try to make evaluations on traditional and digital products. In this study, which is a qualitative research, document analysis method is used and written and visual materials related to the research problem are examined. The products of the new digital art movements that emerged as a result of the mentioned changes were used as the data source of this research and the work analyzes were done. In addition, in order to make the research problem understandable, in the findings section of the research, sample artistic applications were produced with Adobe Photoshop, Corel Painter and Autodesk SketchBook programs. As a result, the stages of creating a picture with the aforementioned programs were examined with the support of the applications and information about the necessary hardware and software was given. Thus, wtih the sample analysis of studies from the world and Turkey, it has been tried to contribute the adaptation of the new generation to the changes and development in the art and art education.

Imitacija brokata (nem. Pressbrokat) je dekorativna tehnika lesenih (in redkeje kamnitih) površin, katere cilj je iluzionistično posnemanje reliefnosti dragocenih svilenih tkanin s pomočjo detajlenega kositrnega reliefa, ki je bil izoblikovan v kalupu in nato prilepljen na nosilec. Odkritje primera imitacije brokata na Relikviariju iz Narodne galerije, datiranega okvirno v začetek 16. stoletja, je bilo v spodbudo za raziskavo njene zgodovine in tehnologije. Raziskave so bile vodilo za konservatorsko-restavratorski poseg na umetnini, ki je bil načeloma omejen na utrjevanje fragmentov reliefa na nosilec. Zaradi boljše berljivosti vzorca po utrjevanju je bilo mogoče izvesti temeljito analizo njegovih morfoloških značilnosti ter ga primerjati z drugimi ohranjenimi pressbrokati iz območja današnje Furlanije. Primerjave so bile v pomoč za grafično rekonstrukcijo vzorca in so nudile zanimiv vpogled v splet stikov med koroškimi in furlanskimi rezbarskimi delavnicami 16. stoletja. Applied brocade (ger. Pressbrokat) is a decorative technique of wooden (and sometimes stone) surfaces which aims to imitate the typical relief of precious silk textiles. The effect is achieved by shaping a sheet of tin in a mould, filling it with a putty and then gluing it to the support. The discovery of an example of applied brocade on a Reliquary from the National gallery of Slovenia, dated around the beginning of the 16th century, was the motivating force behind a more in-depth research of the history and technology of the technique. This research laid the theoretical groundwork for the later intervention on the relief, which was mostly limited to re-gluing the loose fragments on the support. The consolidation allowed an easier reading of the motif and a more detailed analysis of its morphological aspects it also made possible to compare it with other preserved examples of applied brocade, mostly from artworks originating in Furlania. The similarities between these works and the Reliquary eased the graphic reconstruction of the motif, and offered an interesting insight into the connections between Friulian and Carinthian workshops of the early 16th century.

У статті розкрито сутність творчої особистості майбутнього педагога, практичного психолога, завдання і функціональні можливості арт-терапії, з’ясовано особливості її використання в умовах сучасних закладах освіти України. З’ясовано, що процес навчання студентів основам арт-терапії створює єдиний арт-терапевтичний та освітній простір, що забезпечується системою «викладач-студент», допомагає у професійному становленні та особистісному зростанні майбутніх педагогів, практичних психологів. Окреслено тенденції впровадження арт-технології казкотерапії як методу, в якому казкова форма застосовується для інтеграції особистості, розвитку її творчих здібностей, удосконалення взаємодії з навколишнім світом. Охарактеризовано види казок та специфіку їх застосування у творчій самореалізації особистості. In the article was highlighted the essence of the creative personality of a future teacher, a practical psychologist; tasks and functionality of art therapy and it was identified the peculiarities of its use in conditions of modern educational institutions in Ukraine. It was determined that the pedagogical direction of art therapy is an important aspect of creative self-realization of the personality, has a non-clinical orientation, designed for a potentially healthy personality, connected with the strengthening of physical and mental health of the child. The attention is focused on art therapy which helps a person to return to the self-expression, self-discovery, self-creation, gives unforgettable impressions and feelings, activates the inner potential of the individual. It was found that the process of teaching students to the basics of art therapy creates a unique art-therapeutic and educational space, what is provided by the system "teacher-student", helps in the professional development and personal growth of future teachers, practical psychologists. It was theoretically grounded: art-therapeutic work includes art-therapeutic technologies (animation therapy, synthesis therapy, bibliotherapy, fairy tale therapy, cinema therapy, drama therapy, game therapy, music therapy, origami, sand therapy, isotherapy), art-therapeutic methods (lectures, reports, writing essays, disputes, conferences, writing scripts and plans of lessons (classes), games, modeling of pedagogical situations, etc.). It was proved that spontaneity, creativity and creativity are the most important components of the art technology. It was outlined trends in the introduction of art technology of fairy-tale therapy as a method in which a fairy-tale form is used for the integration of personality, the development of its creative abilities, and the improvement of interaction with the surrounding world. It was characterized the types of fairy tales, that are used in fairy tale therapy, with the respect to the specifics of their application in the creative self-realization of the personality.

The 19th century archive database from Winsor & Newton (W&N), one of the leading artists' colourmen at that time, was thoroughly investigated in relation to their manufacturing processes for cochineal lake pigments. Two hundred and seventy-nine production records were studied: 36% pertained to carmine; 40% to crimson; and 24% to scarlet lakes. Ten main methods of synthesis were identified and evaluated. A selection of the recipes was reconstructed with as much historical accuracy as possible. The resulting pigments were characterised with micro-Fourier transform infrared spectroscopy, UV-Vis-NIR Fibre Optic Reflectance spectroscopy, and micro-spectrofluorimetry, and successfully compared with the chemical composition of historic W&N oil paint in tubes. This work revealed the commitment that W&N made to the quality and durability of their lake pigments, while the reconstructions provide reference materials for the study of the formulations used and their response to photodegradation.

Esta pesquisa sobre a produção poética em mídia interativa percorre algumas produções em arte e tecnologia, abordando características presentes em obras artísticas, como interatividade, imersão, agência, indeterminação e emergência, conceitos que formam a base para discussão da instalação SobreVoos, criada a partir de tecnologias disponíveis, que proporcionam ao interator a visão do ponto de vista de um aparelho voador controlado remotamente. Utilizando a hermenêutica fenomenológica, a pesquisa discute esses conceitos e os explora em trabalhos artísticos, vinculados ao objeto da produção visual de mestrado, o uso de drones. O discurso poético é privilegiado, desvelando as estratégias que encaminham o interator para a experiência sensível. Por fim são apresentadas informações técnicas da produção, bem como a relação entre o aspecto técnico e poético em causa. This research addresses the poetic production in interactive media. The research touch some productions in art and technology, as well some features in artistic works, such as interactivity, immersion, agency, indeterminacy and emergency, concepts that form the basis for discussion of SobreVoos installation, created from technologies available that provides the interactor the vision from the point of view of a remotely controlled flying device. Using a phenomenological hermeneutic, this research discusses the concepts and explores them, in artwork attached to the object of visual production, the use of drones. The poetic discourse is privileged, revealing the strategies that route interactor for sensitive experience. Finally technical information production are presented, as well as the relationship between technical and poetic aspect concerned. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES