MAJOR TRENDS IN THE DEVELOPMENT OF MONUMENTAL PAINTING IN THE PERIOD OF INDEPENDENT UKRAINE
Bibliographic record
Abstract
The monuments of the Middle Dnieper region, which have appeared over the last 25 years, are of particular interest for historians, monumental experts, ordinary citizens, they characterize not only the regional differences of the cultural heritage of this region, but also comprehensively reveal certain trends that have spread in architecture, monumental art, art history in the period of independence of Ukraine as a whole.The monuments erected over the last quarter of a century can be divided into categories, which allow to reveal certain trends in the socio-cultural space of the cities of the Middle Dnieper region and to trace their connection with political events.The monuments and memorials created during this period reflected the man-made catastrophes of the twentieth century -monuments to residents of contaminated territories, workers and liquidators of the consequences of the Chernobyl nuclear power plant accident.Monuments and memorials of honor of participants of liquidation of consequences of accident and memory of victims of the Chornobyl disaster appeared in the districts of Kiev and Cherkasy region, in Poltava region.In 1994, the first commemorative sign for the victims of the Chornobyl disaster was erected in Kyiv under the project of sculptor V.A. Chepelik and architect M.I.Kisly.The Monument to the Unbended by Chernobyl (2016) was erected in Cherkasy, in 1996 a memorial sign was in Poltava and «The Alley of Remembrance of the Chornobyl Victims» in the village of Mgar Kobelyatsky district were opened.Monuments to the participants of the so-called local wars began to appear from the mid and second half of the 1990s, for example, the war in Afghanistan from 1979 to 1989, monuments to soldiers-internationalists were erected in Kropyvnytskyi (1995), Vyshgorod ( 2006), Kyiv (2009), Lubni (2009), Boryspil (2012) and others.In connection with the commemoration of the 75th anniversary of the Holodomor of 1932-1933 and the commemoration of the victims, a corresponding decree of the President of Ukraine «On actions in connection
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.002 | 0.000 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".