150
www.amazoniainvestiga.info ISSN 2322- 6307
DOI: https://doi.org/10.34069/AI/2022.60.12.16
How to Cite:
Cherniyavskyi, V., Dubrivna, A., Cherniyavskyi, K., Galchynska, O., & Bilozub, L. (2022). Digital art as new modern global trend
in socio-cultural space of Ukraine. Amazonia Investiga, 11(60), 150-155. https://doi.org/10.34069/AI/2022.60.12.16
Digital art as new modern global trend in socio-cultural space of
Ukraine
Arte digital como nova tendência global moderna no espaço sociocultural da Ucrânia
Received: November 2, 2022 Accepted: December 27, 2022
Written by:
Cherniyavskyi Volodymyr68
https://orcid.org/0000-0001-5901-4480
Dubrivna Antonina69
https://orcid.org/0000-0001-8012-6946
Cherniyavskyi Kostiantyn70
https://orcid.org/0000-0002-8136-4791
Galchynska Olga71
https://orcid.org/0000-0002-3030-6911
Bilozub Liudmyla72
https://orcid.org/0000-0002-2384-827X
Abstract
The modern development of art has its own
conceptual directions and features. One of these
directions is digital art, which was formed as a
result of the development of modern, primarily
computer technologies, their close integration
with everyday life. The purpose of the article is
to investigate the salient features of the
integration of digital art into the socio-cultural
space of Ukraine. The research methodology
consists of general scientific and special
methods. In the results, the salient features of
interest and development in digital art in Ukraine
were analyzed, the formation of modern
collectors, their methods of work, the presence of
ceremonial events, and Internet platforms for
popularizing the achievements of digital artists
were determined. It was determined that as a
result of the pandemic and the progress of digital
technologies, a digital market was formed, the
advantages of which have already been
understood by users of virtual services. In the
conclusions, it is noted that digital art has
considerable prospects for development in
68
Doctor of architecture, Professor, Head of the Department of Theory, History of Architecture and Art Synthesis National Academy
of Fine Arts and Architecture (NAOMA), Faculty of Architecture, Department of Theory, History of Architecture and Synthesis of
Arts, street Ascension Descent, Ukraine, Kyiv.
69
PhD in Art Studies, Head of the Department of Digital ArtKyiv National University of Technologies and Design, Faculty of Arts
and Fashion, Department of Digital Art, Ukraine.
70
Candidate of art history, Associate Professor of the Department of Design National Academy of Fine Arts and Architecture
(NAOMA), Faculty of Fine Arts and Restoration, Department of Design Ukraine, Kyiv, 04053, street Ascension Descent, Ukraine.
71
PhD design, Associate Professor Mykhailo Boichuk Kyiv State Academy of Decorative-Applied Arts and Design,.
72
PhD in Art History, Assosiate Professor Department of Fine Arts and Design Faculty of Ukrainian and Foreign Philology and Art
History Oles Honchar Dnipro National University, Ukraine.
Cherniyavskyi, V., Dubrivna, A., Cherniyavskyi, K., Galchynska, O., Bilozub, L. / Volume 11 - Issue 60: 150-155 /
December, 2022
Volume 11 - Issue 60
/ December 2022
151
http:// www.amazoniainvestiga.info ISSN 2322- 6307
Ukraine, as it corresponds to the general trend of
digitalization of social processes.
Keywords: digital art, Ukraine, development of
digital technologies, society, education.
Introduction
The latest culture and the development of digital
technology leads to the emergence of a large
number of new trends in art. Digital art as a
peculiar combination of creative avant-garde and
technological innovations peculiarly responds to
the current events of the day, develops and
improves artistic tastes, combining with the
already existing local artistic traditions (Brey,
2021). It is very difficult to study this process
because the development of digital art occurs
unevenly, as educational, artistic, cultural, social
levels of life in different countries are digitized.
Ukraine has made significant progress in the field
of computerization, so from the beginning of the
twentieth century, it developed in the general
context of the technological development of
Central and Eastern Europe. However, the
formation of digital art has been slower - the
reasons for this phenomenon are not definitively
clarified (Rutten, 2018). Considering that in
general digital art is a relevant topic for research,
the Ukrainian case of its development is also
poorly studied. The article aims to analyze the
role and importance of digital art in the socio-
cultural life of Ukraine. This will allow to
determine the peculiarities of distribution of this
direction in public and cultural spaces, to
determine the peculiarities of the Ukrainian case
of development, and to predict its influence on
the further formation and development of work
of museums, digital painting, music, graphics,
etc.
Theoretical Framework or Literature Review
The works of art historians who have
investigated the peculiarities of digital art use in
different contexts: educational, social, and
cultural are important for this study. Bukharova
& Urozhenko (2020) investigated the
peculiarities of manifestations of artistic
intentions through modern digital technologies.
Hasenhütl (2020) described contemporary art
trends based on a brief analysis of “design by
drawing” and the potential of body technique in
a time of digitalization. Senka (2016)
characterized the spread and significance of
digital art in Latvia. Rutten (2018) examined
transformational changes in contemporary art
through the prism of the digitalization of society.
Dokolova (2021) analyzed the main aspects
video mapping as a unique direction of digital art.
At the same time, contemporary educators have
also embraced the problem of analyzing art
through the lens of educational contexts. Helton
(2020) identified the problem of the legitimacy
of the arts. He believed that politics was
weakening the arts in the realm of educational
policy, so he outlined likely ways to resolve this
situation.
Through the lens of historiosophic analysis, the
problem of the formation and development of
digital art is reflected in Westerby & Keegan
(2019). According to Brey (2021), the last decade
has seen a growing role of innovation and digital
resources and tools in art. His study provides an
in-depth analysis of recent developments in the
history of digital art based on an analysis of a
study of European and North American
publications. Contemporary artists have
developed various tools and techniques to
develop digital art and architecture that challenge
traditional styles. In particular, Kovalova et al.,
(2022) characterized the phenomenon of the
digital evolution of art through the prism of
analysis of metamodernism (a separate style of
digital art). The study analyzes the key
theoretical foundations of metamodernism and
describes the main aspects of this cultural
phenomenon through the prism of the spread of
digital technology and the latest tools of art
direction. Key aspects of digital surrealism are
reflected in the work of Jung, Biocca & Lee
(2015). Their work examines the spatial
reflection effect of projection (known as spatial
augmented reality). At the same time, Osadcha &
Baluta (2021) investigated the impact of
innovative trends on the development of digital
art. Researchers identified such key trends as
virtual art, concept art and character design, 2D
animation, 3D printing and painting, artificial
intelligence art, and UX/UI design. Rayes (2019)
identified the importance of digital art and its
tools in the development of plastic art.
Methodology
To write the article we used, first of all, general
scientific methods of research: analysis,
152
www.amazoniainvestiga.info ISSN 2322- 6307
synthesis, induction, deduction. With the help of
these tools, the place of digital art in the paradigm
of socio-cultural perception in Ukraine was
defined, certain aspects and features of digital
arts (music, paintings, graphics, animation, etc.)
were studied through the prism of the formation
of interest in technological development.
The research uses special methods: axiological,
concretization, comparison. The axiological
method made it possible to determine the
valuable aspect of interest in digital art, to pay
attention to the importance of using modern
technologies in the artistic sphere. Concretization
made it possible to establish the circumstances of
the formation of a new generation of art
connoisseurs, for whom digital art is equal to
other, traditional manifestations of cultural life.
Results and Discussion
Reasons and manifestations of interest in
digital art in Ukraine
For Ukrainian society, conservatism is an
inherent trait. Interest in modern artistic styles,
poetry, literature, and the like, as a rule, does not
go beyond a small circle of intellectuals and
interested connoisseurs. At the same time, digital
art has become an exception to this rule - interest
in information technology has also influenced
this industry: quite a few talented people, having
received appropriate training and education, have
chosen graphic design, music, illustrative art, etc.
(Zhukova, 2018).
Digital art is considered a kind of computer art,
created using virtual space, electronic images
using tools that mimic the techniques of
traditional art. This direction has many
characteristic advantages on the one hand, but on
the other hand - several disadvantages in line
with traditional visual art (Westerby & Keegan,
2019). From the positive features, we will
highlight the minimum number of costly
resources: computer graphics does not require
the additional purchase of paints or special tools,
the artist does not have to prepare canvases and
wait for the drying of layers. In addition, the
author is not limited in the number of pigments
(Senka, 2016). However, and electronic media do
not take up much space, laptop, tablet,
smartphone have high mobility and are always at
hand. At the same time, digital editors have a
huge range of colors and available effects and
also allow you to organize a variety of
manipulations with the already ready image and
at any time change the size of the canvas (Gunn,
2020). In addition, there are special functions for
storing (or auto-saving), undoing recent actions,
drawing on different layers with the subsequent
possibility of editing them.
At the same time, various plug-ins and character
stabilizers affect optimization, and there is an
opportunity to combine an image drawn from
scratch in the program with digitized traditional
drawings, paintings, and digital photographs
(Helton, 2020). Today's most popular editors also
allow you to customize the interface to suit
personal needs and user requirements, and when
creating images, you can duplicate them in
unlimited quantities and send them with minimal
visual distortion.
Digital art technologies contribute to the active
development of computer art, net art, digital
photography, digital video, experimental
sculpture, almost all contemporary standard, and
a host of other practices (Hridyayeva et al.,
2021). At the same time, digital techniques
continue to change, evolve, and proponents of
digital art form their own communication,
debate, and evaluate works, influencing the
general interest. However, by applying them
always in new ways, authors and artists reveal the
manifold possibilities of the vision of this art.
Consequently, contemporary society is being
rapidly transformed by the activities of digital
media. Modern media artists apply their own
techniques and experiences to form a plane in
which people can creatively use different
approaches (Sokolovska, 2020).
However, on a socio-cultural level, digital art is
still a new industry, and people making the most
of its potential are actively developing it.
However, it challenges the traditional
relationship between active observers and
passive art objects, forming special interactive
behavioral subjects for distant aesthetic
encounters (Hasenhütl, 2020). Contemporary
researchers emphasize that by combining mind
and spirit with computer capabilities, drawing on
all sorts of concepts and ideas from different
directions and using them in art, digital art has
defined and responded to the prospects of
networked communications and current artistic
issues. increasingly important for art and culture
in general (Bukharova & Urozhenko, 2020).
Thus, contemporary artists have played an
important role in the process of developing ideas
with broad cultural ramifications, even without
considering that historicization predominantly
does not take place in visual art forms.
Furthermore, contemporary digital art tends to
integrate aesthetic and scientific interests based
on science such as cybernetics (Rutten, 2018).
Volume 11 - Issue 60
/ December 2022
153
http:// www.amazoniainvestiga.info ISSN 2322- 6307
Consequently, we believe that contemporary
digital art can be a key to thinking about the
modern and the future. As media art promotes
creative approaches to innovations created by
digital technologies, it also offers a reflection on
the position of the contemporary digital media
community in Ukraine as a whole. Given
globalizing trends and contemporary
transformations in many fields, media art is also
changing, generating new and new awareness of
the critical vision of artists.
Digital art and modern art trends: Ukrainian
experience
Art as a way of demonstrating reality and fiction,
artistic images is based on creative processes:
novelty, originality, the ability to see and grasp
mutual connections, the ability to look for
analogies and opposites; combinatorics and
variation, the ability to synthesize and combine
individual parts in different ways and ways,
problem thinking (finding, posing and solving
new problems and debatable aspects)
Modern digital technologies have opened up new
horizons for creative research and artistic work in
the art environment. Constant technological
advances only reinforce the development of the
information society, in particular the artistic
direction (Rayes, 2019). In responding to
contemporary challenges and societal
benchmarks, there is a rapid digitalization of the
art environment. Modern computer technology
makes it possible to create new vivid spectacles
that will attract the attention of a considerable
number of individuals. Thus, digital art methods
will also establish a synergy of artists, musicians,
and computer designers who will work on digital
art, synthesizing creativity and mathematics. In
view of the fact that this kind of new art is
gaining momentum and becoming in demand,
digital art is expanding not only territorially, but
also conceptually. Digital art has created its own
cultural sphere, capable of merging all spaces of
people's lives and activities with modern
technology, nature, and fantasy (Bishop, 2018).
Broadly speaking, digital art is a creative activity
that relies on the involvement of information
technology (e.g., software) to create artistic
works in digital form. All varieties of digital art
(it speaks of contemporary forms of painting,
computer graphics, ASCII art, ANSI art,
computer music, hypertext literature, and digital
poetry) develop within the limits that the
permanent transformations of information
technology and software establish. It is probably
true to say that the main characteristic of digital
art is that it is created by humans using digital
technology (the computer) as their main working
tools (Pasqui, 2021). This broad understanding of
the fundamentals of digital art allows the creation
of an entire professional network that is
constantly improving.
For Ukraine these trends are relevant because the
globalization processes also concern the cultural
layer and the spread of whole and individual cries
across all countries. Just as in other countries, in
Ukraine, the development of information
technology has a tangible influence on the
synthesis of various arts (Osadcha & Baluta,
2021). For example, we can point out the
merging of video mapping technologies and
stage art (Jung et al., 2015). The emergence of
new genres has led to the formation of specific
technologies in theatrical creation, which are
used to form the artistic images of the
performance - from previous sketches using
graphic software to stage implementation with
projectors and screens, multifunctional lighting
devices, etc. As a result of the introduction of
information methods of video projection, stage
directors were able to combine material reality
with elements of the virtual world and 3D
scenery. Consequently, the trends in the use of
computer technology in art go beyond certain
representational aspects and are integrated into
other artistic trends.
Powerful centers (for example, Pinchuk Art
Center in Kyiv), some educational institutions
and institutes (for example, we are talking about
the Institute of Contemporary Art Problems of
the National Academy of Arts of Ukraine), as
well as private institutions (galleries, art clubs,
etc.) have become creative centers of
contemporary art in Ukraine in general and
digital art in particular. A certain role is also
played by non-stationary institutions - large-scale
exhibition projects, which are held in the format
of biennales (for example, every few years there
is the Kyiv Biennial of Contemporary Art - since
2012 the event is traditionally held at the
National Cultural-Art and Museum Complex
“Mystetskyi Arsenal”).
The first Ukrainian Biennial of Digital and Media
Arts was an important and unique innovative
cultural event. The event took place on October
15-30, 2021, and was dedicated to the thirtieth
anniversary of Ukraine's independence.
Altogether more than fifty modern works of the
famous artists from 15 countries of the world
were presented. The host institution was
ARTAREA Modern Media Gallery in Kyiv. The
creative program of the event was supplemented
with lectures by artists and an international
154
www.amazoniainvestiga.info ISSN 2322- 6307
thematic conference. The main partners of the
Biennial were the Ukrainian Cultural
Foundation, Spanish Embassy in Ukraine, and
Spanish Agency for Development (AECID). The
exhibition exhibits were divided into classic and
the newest, i.e., such as installation, video art,
kinetic, VR, and NFT exhibits (Hridyayeva et al.,
2021). An art event of this scale demonstrated the
public's interest in digital art events. At the same
time, sponsorship and guarantees were obtained
for the next similar biennale, the scale of which
should be larger.
How can digital art interest Ukrainian
society?
The Covid-19 pandemic has changed the
behavior of all art market participants, and these
changes will obviously exist in the future
(Sokolovska, 2020). Future quarantine
compliance requirements lead many cultural
organizations to digitize collections and
exhibition activities that can be accessed online
from around the world in the future. An
important challenge for many institutions today
is to create a sustainable structure for the digital
art world that will be functional not only in times
of peace but also in times of crisis (military or
pandemic-related), guaranteeing access for the
sake of cultural enrichment and the financial
functioning of the cultural industry. The two
dimensions (real and virtual) begin to depend
directly on each other, and it is virtually
impossible to separate them As a result of the
pandemic and the progress of digital technology,
a digital market has emerged, the benefits of
which have already been understood by users of
virtual services.
Collectors have also changed - a separate layer of
collectors has formed and a new market with
other players. The new structures are different
from the traditional ones. If in the past the
predominant major figures in collecting markets
were older people who knew art perfectly,
studied its history, but did not let new people into
their circle, then within digital art the traditional
collectors have been replaced by members of the
generation of the 2000s (Hridyayeva et al.,
2021). Young people with a thorough
understanding of modern technology have the
sufficient financial capacity to collect (Zhukova,
2018). They are quick to respond to changing
trends and adapt to nascent markets. New-type
collectors tend to make intuitive purchases that
are made emotionally.
The presence of such a contingent in Ukraine
accelerated the formation of a digital art market
functioning according to its own rules. The
Covid-19 pandemic and Russian aggression
accelerated the appeal to virtual life. Many in
Ukraine are turning to the services of special
agencies that help set up virtual galleries and
collections. We popularize digital art on the
global market and give an opportunity not only
to look at it but also to appreciate it both
professionally and amateurishly. The existence
of such services (like V-ART) facilitates contacts
between collectors, artists, artists, private
galleries, etc. (Bukharova & Urozhenko, 2020).
All purchases are carefully recorded using
Blockchain. Digital art objects are sold on a
common basis and intellectual property
protection (Kovalova et al., 2022). Art admirers
will discover new figures in digital art with the
help of such agencies.
Thus, interest in digital art in Ukraine developed
in parallel with the digitalization of society.
Interest in this genre also developed rapidly, but
due to the aggression of the Kremlin regime, this
process was suspended. The return of Ukrainians
to peaceful life will also contribute to the revival
of interest in digital art. In addition, during the
war, the artists prepared some interesting
projects, which are now freely available on the
Internet. Obviously, the share of digital art in the
market in Ukraine will grow because it has the
necessary public resonance.
Conclusions
Consequently, the development of digital
technology among Ukrainians in the early XXI
century led to the popularity of digital art,
corresponding to the general world processes of
growth of interest in the industry. The formation
of individual art projects and ceremonial
biennales in Kyiv indicates the prospects of this
direction of artists' work. An important aspect is
democratic and the availability of digital art for
wide layers of society. In addition, formed a layer
connoisseur of individual digital artists -
collectors who invest real money in digital
projects and care about their development. This
has led to the formation of online marketplaces
offering services for the purchase and sale of
digital art objects.
Thus, there is a close integration of a new kind of
art into the socio-cultural space of Ukraine. The
interest in this process is reflected in the
educational processes - along with innovative
technologies, some universities have introduced
educational programs that offer a wide range of
introductions to modern trends in cultural
development. This process of development will
Volume 11 - Issue 60
/ December 2022
155
http:// www.amazoniainvestiga.info ISSN 2322- 6307
continue and will be especially accelerated after
the end of the Russian aggression. During the war
against the Kremlin regime, Ukrainian Internet
artists prepared interesting projects. The study of
their activities will continue - this topic remains
relevant for understanding the cultural life of
modern Ukraine.
Bibliographic references
Bishop, C. (2018). Against digital art history.
International Journal for Digital Art History, 3,
123-130.
https://doi.org/10.11588/dah.2018.3.49915
Brey, A. (2021). Digital art history in 2021. History
Compass, 19(8). doi:
https://doi.org/10.1111/hic3.12678
Bukharova, E., & Urozhenko, O. (2020). The
artistic reality in the space of digital
technologies: Towards the problem of art
criticism. KnE Social Sciences, pp. 9-
14. https://doi.org/10.18502/kss.v4i11.7522.
Dokolova, A. (2021). Specifics of modern video
installations: Projection mapping as a form of
digital art. Intellectual
Archive, 10(1). https://doi.org/10.32370/ia_20
21_03_09
Gunn, A. (2020). Art of Nation: Revisiting Will
Dyson’s War Work in a Digital Art Exhibition.
Journal of Australian Studies, 44(4), 535-551.
https://doi.org/10.1080/14443058.2020.182899
7
Hasenhütl, G. (2020). Manual drawing in
transformation: A brief assessment of “design-
by-drawing” and potentials of a body technique
in times of digitalization. The Journal of
Aesthetic Education, 54(2), 56.
https://doi.org/10.5406/jaesteduc.54.2.0056
Helton, B. C. (2020). The arts’ legitimacy
problem. Arts Education Policy Review,
122(4), pp. 224-
238. https://doi.org/10.1080/10632913.2020.17
31898
Hridyayeva, T. O., Kohut, V. O., Tokar, M. I.,
Stanychnov, O. O., & Helytovych, A. A.
(2021). The Features of Ukrainian Media Art in
a Global Context. International Journal of
Computer Science and Network
Security, 21(4), 229-240.
https://doi.org/10.22937/IJCSNS.2021.21.4.28
Jung, S., Biocca, F., & Lee, D. (2015). Effect of 3D
projection mapping art: Digital surrealism. In
Lecture notes in computer science (pp. 361–
367). Cham: Springer International Publishing.
doi: https://doi.org/10.1007/978-3-319-21067-
4_37
Kovalova, M., Alforova, Z., Sokolyuk, L.,
Chursin, O., & Obukh, L. (2022). The digital
evolution of art: current trends in the context of
the formation and development of
metamodernism. Amazonia Investiga, 11(56),
114-123.
https://doi.org/10.34069/AI/2022.56.08.12
Osadcha, K., & Baluta, V. (2021). The influence of
modern trends in digital art on the content of
training in computer graphics and digital
design. Ukrainian Journal of Educational
Studies and Information Technology, 9(1),
1-12. doi:
https://doi.org/10.32919/uesit.2021.01.01
Pasqui, A. (2021). Digital culture, umwelt and
aletheia an ontological introduction. In
ARQUEOLÓGICA 2.0 - 9th International
Congress & 3rd GEORES – GEOmatics and
pREServation. Editorial Universitat Politécnica
de Valéncia.
https://doi.org/10.4995/arqueologica9.2021.12
063
Rayes, E.A. (2019). Digital art for the promotion of
the creative aspect in the plastic art. Global
Journal of Arts, Humanities and Social
Sciences, 7(1), 1-14.
http://www.eajournals.org/wp-
content/uploads/Digital-Art-for-the-Promotion-
of-the-Creative-Aspect-in-the-Plastic-Art.pdf
Rutten, K. (2018). Participation, art and digital
culture. Critical Arts, 32(3), 1-
8. https://doi.org/10.1080/02560046.2018.1493
055
Senka, G. (2016). Experiment with digital
technology in arts and culture, the case of
Latvia. Digital Presentation and Preservation of
Cultural and Scientific Heritage, 6,
43-48. https://doi.org/10.55630/dipp.2016.6.4
Sokolovska, O. (2020). Directions of development
of digital society in Ukraine. Green, Blue and
Digital Economy Journal, 1(2),
62-67. https://doi.org/10.30525/2661-
5169/2020-2-12
Westerby, G., & Keegan, K. (2019). Digital Art
History and the Museum: The Online Scholarly
Collection Catalogues at the Art Institute of
Chicago. Visual Resources, 35(1-2),
141-154.
https://doi.org/10.1080/01973762.2018.155344
5
Zhukova, Y. O. (2018). New Technologies.
Ukraine. Culture. International Journal of
Education and Science, 1(3-4). Doi:
https://doi.org/10.26697/ijes.2018.3-4.18