Communications. Media. Design

The Role of the Media Communication Industry in Shaping Modern Society's Innovative Future

2025-10-10T16:11:55+03:00

The media communication industry holds a unique and multifaceted position in the innovation landscape, acting as both a consumer and a creator of innovation. This dual nature is inherent in innovation processes, which encompass the introduction of new technologies into the economy, the establishment of novel economic and social institutions, and the fulfillment of emerging societal needs. Media influence subtly nudges, and sometimes directly sparks, the emergence of these new needs, absent from previous generations and economic structures. Thus, the media play a crucial role as disseminators of information content that generates these unmet societal demands. This work delves into the significance of the media communication industry in fostering innovative development at various levels—from territories and regions to entire nations. It examines how this industry impacts the quality of life for citizens, its contributions to social and technological innovation, and the innovative nature of its products. Additionally, it explores approaches to developing a contemporary methodology for studying behavioral innovations, with a focus on tools for assessing the characteristics and state of the media communication industry.

Communication Practices of HIV-Infected Patients on the Internet as Ways to Adapt to a New Social Status

2025-10-10T16:43:52+03:00

The article explores how people adapt to living with HIV through online communication. With Russia seeing an increase in HIV cases, the challenges faced by those diagnosed are significant. The internet offers both opportunities and obstacles for this vulnerable group. It can foster connections, reduce isolation, and strengthen community support. However, it can also perpetuate discrimination and create barriers through exclusive online spaces. The authors aim to categorize the various ways HIV-positive individuals use the internet to adapt to their new social status. They define "communicative practice" and examine the social and legal context of HIV in Russia. They review existing research on the stigmatization of HIV-positive people and analyze the mechanisms of social adaptation. Through semi-structured interviews with HIV-positive individuals, the authors identify seven distinct types of adaptive communication practices. These findings provide a deeper understanding of how the internet can support or hinder the adaptation process for those living with HIV.

In-game media and their role in formation the historical setting in video games

2025-10-10T16:11:56+03:00

This work is devoted to the study of in-game media and their role in shaping the historical setting in video games. The aim of the work is to articulate a definition of in-game media, identify their types and functions, and examine their contribution to the formation of historical reality in video games, using Red Dead Redemption 2 as an example. The article provides examples of in-game newspapers, magazines, and audiovisual media that have been successfully integrated into the gaming environment. The authors emphasize the relevance and potential of studying the virtual media environment, which has long been overlooked by academic research. The research methods include the analysis of educational materials for journalists and studies on digital media, scholarly articles in the field of game studies, and video games themselves. Special attention is given to the similarities between the in-game newspapers in Red Dead Redemption 2 and the real American press of the late 19th century. The findings of the study may contribute to a deeper understanding of the mechanisms underlying the creation of historical authenticity in video games and the development of theoretical aspects of the study of media that exist exclusively within the gaming space.

The Transmedia Approach in the Communication of Government Organizations: The experience of the Federal Adolescent Center

2025-10-10T16:11:59+03:00

The article analyzes transmedia communication strategies employed by Russian federal organizations, using the Federal Adolescent Center as a case study. In the context of digitalization and evolving media consumption habits, there is an increasing need for federal institutions to adopt contemporary formats of audience engagement — particularly in working with adolescents and the professionals who support them. The novelty of this study lies in the application of the analytical model for transmedia projects (developed by R. Gambarato et al.) to a governmental communication initiative, allowing for a structured evaluation of both strengths and weaknesses of the center’s media strategy. The aim of the research is to identify the specific features of the transmedia model implemented by Center and assess its potential for replication within other public institutions. The study uses methods of content analysis, comparative platform analysis, and narrative analysis of the center’s media products. The results demonstrate that Center implements a well-developed transmedia strategy, where core components — including social media communities, educational courses, offline events, and dedicated media projects — are integrated into a cohesive narrative system that engages various target groups. Special emphasis is placed on the development of regional media platforms and autonomous project ecosystems, such as Podm(r)ostki, The Power of Russia, and Knowledge Campus. This confirms the effectiveness of the approach and informs a set of recommendations for its broader application in other governmental structures. The findings can be used in designing communication strategies in social, educational, and youth policy contexts.

Construction of the City Image in Official and Everyday Communication: A Comparative Analysis (Based on Social Media)

2025-10-10T16:12:00+03:00

The article offers an analysis and visualization of Russian city images that emerge in the comments of urban community subscribers and posts from administrative press services. The city image is regarded as a frame structure that develops through political and interpersonal communication in the network. The social component of the city image is identified as the determining factor. The study employs a methodology for examining the city image in the domestic social network VK, which includes topic modeling and semantic modeling. A detailed description of the differences between the official and everyday city images is provided as a result of the research.

The Location of Memory in the Digital Age

2025-10-10T16:11:52+03:00

This study explores how memory is transformed in the digital age, particularly focusing on the profound shift in ontology that characterizes online spaces. The author seeks to uncover the unique nature of digital objects, shaped by their semiotic representation, and to critically examine the implications of the mediatization of commemorative practices. The central aim is to investigate how technical infrastructures and programming languages delineate the boundaries of collective memory, replacing stability with the fluidity of algorithmic processes. The core argument is that the digital realm differs fundamentally from the material world. Virtual entities, such as monuments, emerge solely through code and its interpretation by software systems. Unlike physical objects, which retain their autonomy regardless of observers (like the "Auschwitz stone"), digital artifacts are realized only when data is decoded, transforming their existence into a continuous creation. This makes memory dependent on infrastructures like servers and protocols, rendering it vulnerable to technical failures or outdated formats. The author critically evaluates the role of formal languages like HTML, SQL, and JSON as a "Procrustean bed" for collective memory. These languages not only capture information but also reduce complex human experiences to atomic data elements (e.g., "name," "date"), particularly evident in attempts to archive tragedies like the Holocaust. This formalization is a consequence of the digital environment's semiotic nature, which excludes the ineffable within its linguistic conventions. Special attention is given to the transformation of social media commentary. Algorithms turn memory into a product of network interactions, where individual acts of remembrance (likes, reposts) follow the logic of virality and engagement. This creates a "connective memory" that links users through repetitive gestures but lacks the depth of historical understanding. Digital mourning rituals, such as virtual candles and hashtags, are reduced to standardized user interface components, indistinguishable from commercial transactions, which leads to the desacralization of memorial spaces.

Total Installation Expansion: Mike Nelson "Coral Reef"

2025-10-10T16:11:51+03:00

In this article, the author explores the viewer's experience of M. Nelson's installation "Coral Reef," a work by a prominent member of the Young British Artists. The artist deliberately constructs the space to highlight the boundaries of perception and the limitations inherent in modern socio-political structures. By creating an environment where viewers cannot fully grasp all elements of the artwork, Nelson draws attention to the concepts of visibility and invisibility, as well as the unseen constraints of contemporary life. This artistic strategy leads viewers to navigate the installation's boundaries, planning their movements and attempting to map the space's shape. The ensuing experience provides valuable insights into how viewers interact with the work's spatial dimensions. The study is based on interviews with the artist and curator K. Wallis, as well as an analysis of visitors' visual patterns. A comparative approach is employed, distinguishing between the artist's design intentions (invisible) and the narrative elements (visible) of the installation. This method allows for a deeper understanding of how the viewer's perception space is formed. The dynamic nature of the installation, blending various artistic practices, creates an environment that prompts viewers to reflect on their own interactions with the work. The sketches and observations of visitors further illustrate this process, revealing the complex interplay between the artwork's design and the viewer's subjective experience.

The Concept of Aura of Vintage Clothing in the Frame of Items Biography Theory

2025-10-10T16:11:58+03:00

Vintage clothing research has grown in popularity over the past decade, and the subject itself has become a significant part of the fashion field. The notion of “vintage” has become recognizable in the space of modern media and at the same time is currently experiencing a situation of commodification, since the word has begun to be used in a different context than is currently enshrined in scientific discourse. The vintage clothing item itself is subject to commodification too. The originality of this article is in using the concept of aura to denote the intangible component of genuine vintage clothing, which includes the age of the item, its cultural biography, traces of time, memories and legends associated with it. By incorporating the concept of aura into vintage clothing studies, it is possible to differentiate between originals, replicas, and contemporary “vintage-style” items on both a lexical and semantic level. In this case, examples of the commodification of both vintage clothing and the notion of “vintage” itself can be viewed in terms of the process of aura disintegration.

To integrate the concept of aura into fashion studies, we used the theory of cultural biography of things proposed by Igor Kopytoff. This optics expanded the possibilities for describing the phenomenon of collections and collecting vintage clothing. Since collecting vintage clothing is often not limited to its storage and restoration, but includes acts of demonstrating it on oneself, vintage collections can be studied both as collections of authentic artifacts and as private dressing spaces. The notions of aura and authenticity are important in this case to confirm the status of collectors-users.

Machines of the Audiovisual: The Development of “Synthetic Audiovisual Interfaces” in the Avant-garde Art Since the 1970s

2025-10-10T16:11:49+03:00

The translation of the scientific article examines how a number of avant-garde cinematographers and video artists have developed alternative models of the audiovisual apparatus since the 1970s of the twentieth century in order to explore the synthetic connection between sound and image. Rather than depending upon the term ”˜apparatus’ implying a rigid separation of different media arts, I define their artifacts as the “synthetic audiovisual interface” in the light of their two common characteristics: firstly, as experimentations with ”interfacing’ different media components, the artifacts are intended upon translating image into sound, or vice versa, by virtue of unearthing, transforming or recombining material and structural attributes of a media including film, video, and computer; and second, as investigations into ”˜interfacing’ the human and the machine, the artifacts are channeled into pushing the threshold of the relation between two perceptual modes (hearing and seeing) or between human perception and their operation. Drawing on the avant–garde artistic practices of Paul Sharits, Lis Rhodes, Woody Vasulka, Bruce McClure and Ryoji Ikeda and analyzing how their artifacts share a constructive and combinatorial approach to media and the range of their audiovisual effects, the author argues that these two characteristics of the "synthetic audiovisual interface" allow us to consider three phases of the development of audiovisual technologies – celluloid, analog video and digital technology as converging technologies in their conceptual parallel.