Valuable determinants of the multicultural model in the sphere of production activity

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Valuable determinants of the multicultural model in the sphere of production activity

Sitnikova Inna,postgraduate student of Kyiv National University of Culture and Arts, member of the Creative Union «Association of Pop Art Persons of Ukraine» (Сітнікова Інна Петрівна, аспірантка КНУКіМ, член Творчої спілки «АДЕМ України», продюсер і режисер-постановник КАМАЛІЇ)(м. Київ, Україна)

Valuable determinants of the multicultural model are of particular importance in the production activities of the beginning of the XXI-th century. First of all, this model is organically linked to an interdisciplinary method- approach, which is always a priority in the system of educational and educational process of higher educational institutions of Ukraine in the sphere of artistic orientation. Among the important components of this activity are interaction and interconnection of marketing, advertising industry and telecommunications, television and radio broadcasting. All of these areas require active production activities and all of its structural subdivisions with the use of appropriate planning systems, methods and methods of research, implementation and programming, organization and effective performance.

As is known, in the system of educational institutions of Ukraine at the beginning of the XXI-th century. traditional are the operation of television studios and radio centers, which actively provide educational and educational process and inform the highlights of important events of the educational institution. That is why in this publication the problem of the place of advertising and television in the system of higher educational institutions of Ukraine of the specified period is considered. The main aspects of the characteristics of the educational, educational and educational process that are inherent in the new television culture are outlined. Also, the historical interrelations of art and advertising during the XX - the beginning of the XXI century are presented. The importance of the semiotic approach to the interpretation of the role and influence of advertising on the transformation of the field of the semiotic space of modern culture in general, including the educational artistic space, is emphasized [1, 59-63].

Interdisciplinary scientific modules include the study (research) of technical means of musical art in the multicultural artistic environment of the XX - the beginning of the XXI-th century. This phenomenon is especially valuable in the system of cultural values and its significance in the globalized information world [8, 11-15; 6, 265-268]. Modern humanitarian knowledge has only recently realized that the relationship between technical means and culture is not limited to simple consumption. The technical means of musical art and modernity are so combined that it is difficult to separate them, especially as under present conditions, technical means, becoming aesthetic values, turn into a kind of art and educational and educational product. As a component of modern culture, technical means actualize their own ideological transmission, transform various meanings and meanings and adapt to changing cultural circumstances, without thereby refusing to root out stereotypes, archetypes and cultural patterns [4, 39-47].

The question of the role of television in the dissemination of educational and educational programs as a phenomenon of intellectual product, intellectual art, decorated with modern forms of media advertising, video clips and radio advertisements is gaining momentum. These new forms of widespread popular art are already active in ever-changing socio-political conditions, they satisfy many vital, professional and spiritual needs. Realism is a reservoir of diverse living standards and political choices. And as in elite art there are sinusoidal manifestations of realism and anti-realism, and in this sphere of popular art the cardinal place belongs to advertising and television [3, 15-18; 8, 13-15].

For the first time, R.Ameheim spoke about television as a phenomenon of cultural communication. Television is a cultural space that requires the use of quality techniques by scientists, because there are various social factors in the reception (V.Godzits, G.Kostok, M.Mok-Lyen, E.Shapinskaya). Scientists presented the classification of the audience: behavioral (viewers are considered inert and manipulated) and the typology of «turning on and resistance», in which the addressee is part of the dominant system and at the same time opposes it. Otherwise, the television text turns out to be «closed» and «open» - interpreted, contrary to the dominant ideology (N.Arbecrombi, S.Lvingston, B.Longhurst). However, the lack of real practical implications of this activity raises doubts in such «openness» that, in fact, is programmed and illusory [7, 6-7; 8, 12-15; 9, 267]. The concept of television viewer as a participant of the play seems more appropriate. Such an attachment has a specific character, since it excludes the possibility of response, and therefore leads to ethical indifference (J.Ellis).

Other authors believe that the most important things in the television are the processes of forming value. Television is an overcultural phenomenon, which provides semiotic connotations of all spheres of life and at the same time introduces a completely new, one that opposes the rational, emotional (mythological) style of perception and reception (R.Bart). Television messages are «open» texts in which the role played by the audience is played by the audience; thereby expanding the connotation space (values). The addressee can accept three positions: the dominant (according to the intentions of the source of the message), the negotiation (enriching the value of its own social context), the opposite (the interpretation of the message contradicts the intentions of the source). The third type is inherent only in television communication, since the process of decoding never ends. On television, any message is a priori polysemiotic, but often becomes predominant immediately after decoding (I. Ang, St. Holl).

It should be noted that mass media accelerate the process of circulation of cultural texts, in particular, educational, methodological or literary. Also, in the absence of dominant values, they introduce recipients to the search for their own interpretations (St.Fish) [8, 12-14; 9, 268-269].

First of all, television is an information space; it is a stream of texts that are context for themselves. Advertising is one of them; It can not be said that it is primary or secondary to others (N.Braun). Possibly, there is a negotiating style here, because the heterogeneous audience is a co-author of the texts. Therefore, television is characterized by mosaicism, formality and subjectivity, in other words, television has a postmodern nature (J.Collins). However, certain cultural circumstances and the hidden realistic paradigm require a reduction in the significance and openness of the message (therefore, various religious channels have their own fans). Advertising as part of a television stream, regardless of the circumstances, remains open source. Referring to other spheres of culture and politics, it reciprocally broadens the intertextuality of television, inducing innovation (increasing the value of the sign), semanticising the advertised product, leading to aesthetization (G.Dorfles, M.Lysovska-Magdyaz, K.Razlov, E.Shtsennaya). Television absorbs these qualitative characteristics and gradually becomes aesthetic.

For the first time in the processes of transformation of culture, in which the focus was gradually becoming television, drew attention to M. Mac-Lyun. In his view, such changes were caused by the evolution of communication technologies, which determine all expressions of personality. At the same time, according to G.Debor, culture is not an add-on, an adornment of real life, life itself, as a spectacle. The play resurrects the integrity of the world, which collapsed as a result of industrialization. Density and continuity guarantee the aesthetic of the television culture - as a result of aesthetic experience (R.Shusterman). Due to the prospect of aesthetic experience, the television stream (R.Williams), which appears to be heterogeneous and contradictory, from the viewpoint of the viewer turns out to be quite the opposite, that is, homogeneous and integral. Thus, television is the most subjective (aesthetic experience - the subject) and at the same time the most objective form of spiritual activity (Kantian sensus communis). As a result of transformation, culture becomes a kind of super-television, a phenomenon complex in terms of interpretation, an open concept, which is determined by the principle of kinship (S.Livingston) [2, 65-69; 9, 265-268].

So, in order to fulfill their tasks, advertising and television should become the newest format of the information industry, even with signs of an entertaining genre, but based on the principles of a highly artistic artistic model. So, the best and most effective advertising strategy is to assimilate advertising art. Advertising informs people not about the subjects, but about the attitude towards them. And in this context, it can never fail to influence the media and the entire culture. It is a genuine cultural marketing that meets the epic of hyper-capitalism (Dzh.Riffin). Advertising, like most television texts, becomes a text not only for reading and decoding, but for writing and modern forms of communication [5, 13-15; 7, 6-7]. This is the so- called «promotion» promotion; here the manufacturer of the message is not a source, but paradoxically a hypothetical address. This is done by the skillful technique of surveys and research.

Consequently, the interdisciplinary paradigm of thinking becomes of particular importance in the conditions of information policy and globalization processes, information technologies, media revolution and media-educational programming, which mark the trends and trends of the XXI century, the modern socio-cultural space, which is always actively aimed at the personal development of man as the subject of communication and identification (self-identification, selfdevelopment) of the individual. Dynamic socio-cultural transformational processes in the present conditions, the vector of integration into the European community determine the creation in the modern Ukrainian society of conditions for the creative self-development of a person, where the processes of a multicultural model acquire a priority and self-esteem.

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