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In the field of education, we are faced with a wide range of absorbability degrees of educational materials in various educational programs and courses. We assume that part of this problem is the style of delivery of information in the associated training materials. The described software product is designed to assess the complexity of the material based on the analysis of various criteria received from the subject during the study of the material. Taking into account the research in psychology, we can conclude that such criteria as the direction of the gaze and the length of time of attention on certain elements of the exposition (text, images, interface elements), by the subject (student), tells us about the importance of these expositions and their elements, as well as the characteristics specifically for the subject. In particular, such matters as interest in new information, the necessity of additional information related to the main theme of the exhibition, complexity of understanding or absorption of complex data (schemes, graphs, interfaces) can be considered. To study such parameters as the direction and length of the view, a firmware and software complex is used, which is based on the following technologies: digital video processing, computer vision for processing video information in the required formats, neural networks for identifying areas where the subject's face and eyes are located, and a software subsystem for performing the necessary calculations. Binding the exposition contexts and data on the current parameters of the subject's sight, this firmware and software complex is able to add special metrics to the exposition and its elements. For example, in addition to the exposition consisting of text and graphs, we also add metrics of interest, importance of this information, complexity of understanding. For general exposure research average values of metrics unique for each subject are used. This allows us to evaluate not the subjective attitude to the exposition, but the parameters of the quality of the exposition itself (digestibility of the material, complexity, thematic comprehensiveness). In the field of education, based on the obtained metrics, training courses, teaching methods and testing methods can be analysed. Having this analysis, we can be more objective about the quality of the material and training programs, as well as to find and designate their most problematic areas for further improvement processing. [ABSTRACT FROM AUTHOR]

Chandeliers as objects of decorative and applied art were developed in the process of historical evolution to express with much clearance the artistic and stylistic ideas of the time in which they were forged. In all interiors the chandelier was the dominant part, which attracted attention through its shape, size and design decisions. Among the many types of lamps, the chandelier plays the most significant role in the compositional organization and decoration of the palace interior. The thing is, that the evolution of the chandelier types goes along with the development of the artistic style itself, as well as with the history of palace interiors, that is why the best way to perceive a chandelier as a decorative object is to display it in the historical interior. Due to world events of the 19th and 20th centuries, as well as the rapid change in styles, many palace and apartment interiors have reached us in a modified form, including the significant loss not only in the interiors themselves, but also in the meaning of a chandelier as a lightning device. In the second part of the 20th century (from 1950s to 1990s) a significant number of monuments, chandeliers included, were restored thanks to the data based on archival documents. Also, the public interest in systematic study of the past with the help of direct knowledge of the material culture and its monuments, widespread since the 19th century, was the very thing that contributed to the organization of museums and exhibitions, where the atmosphere of the past was restored, and where lighting devices were selected and demonstrated in different ways, depending on the exhibition’s aims. It could be, for example, a reconstruction of the actual interior, face or overall spirit of the epoch. As in the first case, the chandelier could be a real witness of the actual interior. However, in the second case, its part is reduced. This article discusses the problem of preservation and authenticity of lighting devices; the correct way to rebuild it without any perversion and lost parts, and, in some cases, the way to claim its authenticity. However, it should be stressed, that aesthetic function of historical chandeliers is secondary here to the initial function of ordinary illumination. The lightning device should be shining the same way as it was created in the initial epoch. Thus, this group of questions regarding the palace and period room interiors has different solutions: in one case the chandeliers are for the illuminating purposes, in the other – they should be seen as an interior detail, mostly. In this article, I highlight the rules of exposure of the chandelier in the historical, i.e. palace, interior and in the so-called period room. [ABSTRACT FROM AUTHOR]