The level of civilization depends on science and art.

Henri Poincaré

Vladimir Mitin

At one time it seemed to many that in order to raise the efficiency of industrial production and strengthen the country's financial power, it was only necessary to computerize the relevant organizations and create automated systems management. If possible, nationwide. Then came the understanding that the introduction of computer technology alone does not solve many, many problems, since competent management is still necessary. But now there appeared highly paid and highly qualified managers, financiers, auditors, etc., and industrial production in Russia as a result of their actions (or inaction?) Fell more than during the Great Patriotic War.

In my opinion, part of the roots of the crises of the past seven years lie not in inept management, and even more so not in the insufficient level of computerization of the state, financial and industrial sectors, but rather in the moral character of many officials who care not so much about the interests of the state as about their own or, at best, narrowly corporate ones. The moral character of the leader is closely, although not directly, connected with his cultural level. Therefore, it is necessary to invest the available funds not only in raising the real sector of the economy, but also in raising the cultural level. Both the younger generation and the already grown one. And now about the event that involuntarily prompted me to write these lines.

The international specialized conference EVA'98 Moscow (“ Electronic images and visual arts ”, Electronic Imaging & the Visual Arts), which took place on October 26-30 at the State Tretyakov Gallery (GTG) and was organized by the British company Vasari Enterprises (www.vasari.co.uk./eva/) with the support of the European Commission Communities, Ministry of Culture Russian Federation, The Ministry of Science and Technology of the Russian Federation, the State Tretyakov Gallery, the Association for Documentation and Information Technologies (ADIT), the National Union of Producers and Distributors of CD-ROM and Multimedia Products and other organizations and associations.

The theme of the conference: “New information technologies in the field of culture. Cooperation between Russia and the European Union ”. In five working days, about 70 reports were presented to the audience, grouped into ten sections:

Strategic directions for the use of new information technologies in the field of culture;

The international cooperation;

ADIT and the stages of formation of an information network on national heritage;

Museum information projects;

Technological issues;

New information technologies and immovable cultural heritage;

Contemporary artists are a window to the world;

Towards a new Russia with new libraries;

Multimedia and Education;

New information technologies and information needs.

The full texts of these reports have been published in the form of a hefty book (336 A4 pages) and posted on the website www.tretyakov.ru (to access them, you need to click on the Tretyakov Gallery building and select the EVA'98 section). A colorful bilingual CD is also expected to be released.

Within the framework of the conference, a round table on international cooperation and an exhibition was organized, 40 participants of which showed a number of discs prepared by large foreign museums, and 130 Russian CD-ROMs, one way or another related to culture, art or education.

It should be noted that EVA'98 is the first conference in Eastern Europe in a series of EVA conferences held for the seventh year in Western Europe as part of the EVA Cluster project, implemented with the support of the European Community Commission. According to Leonid Kuibyshev, head of the multimedia technology department of the Center for Informatization of the Cultural Sphere of the Ministry of Culture of the Russian Federation (hereinafter referred to as the PIK Center), many unforeseen problems arose during its organization. So, for example, the approval of visas for foreign participants had to be done in mid-September. And it was at this time that the foreign media described our crisis in a very threatening manner. They called the organizing committee by phone and asked if there were still tanks on the street. Many foreigners were afraid of serious unrest, a repetition of the events of 1993, etc. When the situation stabilized in the second half of October, it was already too late to apply for visas. As a result, instead of thirty foreign participants, only seven came to the exhibition.

In addition, the conference lost almost all financial sponsors, whose money was hanging in the so-called problem banks. Firms that allocated their computers (in particular, "Klondike", Compaq, Intel, Siemens Nixdorf), and the Tretyakov Gallery, which provided their halls, came to the rescue.

The entrance to the conference was not restricted, but it was not free either. Only people who were somehow connected with culture or interested in it were allowed in. “We would like to make this conference-exhibition a regular one. But this is not a cheap pleasure, ”said Mr. Kuibyshev, on whose shoulders lay the bulk of the organizational problems.

How are new information technologies really used in the field of culture?

Head of the Department of Libraries and Information of the Ministry of Culture of the Russian Federation Yevgeny Kuzmin in his report "Problems of Integration and Accessibility of Information Resources of Russian Libraries" noted that local computer networks... In half of them, these networks unite from 30 to 40, and in Samara even more than 100 computers. More than half of regional libraries are connected to the Internet.

In addition to the resources of the World Wide Web, visitors to computerized reading rooms have access to numerous informational, bibliographic and scientific CDs. So, for example, in the Russian State Library (RSL) there are over 600 CD-ROMs 170 titles at the service of readers, in the State Public Scientific and Technical Library of Russia (GPNTL) - 500 CD-ROMs 80 titles, in the All-Russian State Library of Foreign Literature (VGBIL ) - 100 databases on CD-ROM, etc.

More recently, the Russian Book Chamber, the Mir-Dialogue company and the K.-G. Saur released the third edition of the Russian National Bibliography on CD-ROM, which includes 850 thousand records of books published in the USSR and Russia from 1980 to 1996 and a database of dissertations (60 thousand records).

In addition, each self-respecting library creates electronic catalogs of its collections. The most successful in this is the Library of the Institute of Scientific Information on Social Sciences (its electronic resources amount to more than 2 million records). The National Library of Russia (RNL) is stepping on its heels. This is followed by the RSL and the National Public Library for Science and Technology (over 1 million records), 750 thousand entries. electronic cards has accumulated the Central Scientific Agricultural Library (CSAHB), 500 thousand - the Library for Natural Sciences of the Russian Academy of Sciences, 400 thousand - the State Central Scientific Medical Library, 150 thousand - VGBIL, etc.

According to Mr. Kuzmin, on the agenda is the presentation of all these resources on the Internet. The most advanced here are the Central Scientific Library and the Scientific Library of Moscow State University, which have opened their electronic catalogs. The absolute leader is the State Public Library for Science and Technology, on the server of which there is also the Consolidated Catalog of Scientific and Technical Literature, which reflects the funds of more than 400 libraries in the country.

So, with electronic catalogs of library funds, despite the fragmentation of the work carried out in this direction, the situation is not so bad. Another thing is worse. According to experts of the Center for PIK MK RF, there are very few multimedia discs on culture, art and education, not only in computerized classrooms, but even in large libraries. This lack of demand discourages potential manufacturers from investing in CD-ROM development. Since the state is now not up to the support of culture, all hope is for private buyers and private educational institutions in which the children of wealthy parents study.

But there are problems here as well. According to Andrey Zonenko (Rosinex), even before the crisis, the average level of effective demand of Russians for educational multimedia software was very low and did not allow producers to cover their costs. Therefore, over the past two years, only a few domestic publications devoted to culture and art have been published.

A completely different picture abroad. According to Dominique DeLouy, marketing manager for Museums on Line, France (www.museums-on-line.com), the global market for licensed artwork will grow from $ 200 million in 1996 to $ 2 billion by 2005. So it's worth investing in the preservation of cultural heritage. Sooner or later, these investments will pay off even in purely commercial terms.

Culture and art are what first of all distinguish people from animals. Preserving and enhancing cultural heritage is the main task of any country and state. In the century high-speed technologies and rapid changes in this area are also transforming: new directions are emerging, previously inaccessible ways of implementation and embodiment of art objects and historical values. New technologies in culture are actively developing, making familiarization with the cultural and historical heritage accessible, understandable and easily perceived for any person.

Such changes do not always take root quickly, some of them are eliminated in the process, but the most successful ones remain and allow an increasing number of admirers to be involved in a certain genre or direction.

3D theater

Theatrical art has always had one big problem: limited space and difficulty with changing scenery during the performance. The change took place in the interval between acts, which limited the plot and required significant adaptation of the script for many classical works.

3D technologies came to the rescue in this matter. The experiment started simultaneously in several reputable theaters of the world, but the initial idea arose in The Bolshoi Theater Russia, which invited the companies "SIM" and "LIGHTCONVERSE" for cooperation for the development of special software. It took 6 years to prepare the project, as a result of which a hardware and software complex for the performance visualization system (APKV) was obtained.

With its help, employees of the visualization department perform 3D modeling, the result of which is the rendered scenery. This allows you to reduce the cost of preparing the performance, save the time required for rehearsals, and makes it possible to realize a greater number of performances within the framework of one performance.

Interactive theater

In the same direction, theatrical performances are developing, creating an interactive action. In Russia, this approach began with performances for children, the first of which was “Alice in Wonderland” by the Saint Petersburg Opera, which showed that the emotions and impressions of the audience from what they saw surpassed the classical performance.

Interactive theater allows speaker layering to geometrically distribute sound throughout the venue and interact with interactive sets and characters that complement the actual cast. This helps to create missing special effects that are difficult to reproduce with classic technologies, providing an atmosphere of full-scale immersion in the action. Thus, the field of activity is significantly expanding, which makes it possible to implement new complex projects... Another indisputable advantage is the simplicity of storing such content, which does not require huge premises.

A small percentage of critics believe that the stormy show and quick change sets distract viewers from acting, making it difficult to concentrate on the characters, but still most experts and cultural figures find that technical innovations make theatrical art more voluminous and attract new audiences.

Interactive performances represent the future of the stage genre based on the use of high tech and allowing to reduce material and human costs.

Books and Literature

Previously, acquaintance with classics and bestsellers was considered an extremely calm and passive affair, so active people could not keep their attention on reading books. New technologies have changed the way of reading, providing readers with books with interactive elements.

This approach has attracted a huge number of people to reading, especially the children's audience has expanded. Interactive elements have become a great alternative to gadgets. They are rendered after reading their QR code and become visible in 2D format.

A particular benefit of literature of this format is that such books help to bring together both children and parents, and each generation will find the most pleasant moments in reading.

Next step modern literature borders on computer games: the reader becomes a direct participant in the events described in the work. Together with the protagonists, you can participate in adventures, enhancing experiences and a sense of reality with the help of interactive materials.

To do this, objects are attached to the book, proving the reality of what has been described: photographs of the main characters, movement patterns, forthcoming in the plot, drawings or models of iconic objects involved in the narrative.

In addition, in the course of the narration, you come across real phone numbers that you need to call in order to hear important information for the plot. Also, site addresses or QR codes, links to which you need to go to follow the heroes and immerse yourself in the atmosphere of what is happening are indicated.

Reading such literature is very dynamic and suits even the most active people, because the process will definitely not be boring.

Cinema

Cinema is one of the art forms that is currently most consumed by society. New technologies in cinematography have long left 3D behind and the focus is now on a completely new approach.

Standard cinemas in the usual sense will soon become a thing of the past, and cinema parks will replace them. The first such project has already been launched in Yokohama (Japan). Orbi Park is a joint venture between SEGA and BBC Earth content. At the moment, the cinema park is working in an experimental mode. In it, visitors can take a multisensory journey around the world, during which 4 senses are involved: sight, touch, smell and sound.

In such cinemas, there will be no large dark hall with a screen. The entire surrounding space will turn into a virtual screen, and the broadcast image will only be a part of the plot. Films of this format are something between a movie and a video game, they will be accompanied by tactile sensations, virtual and augmented reality.

At the moment, the developments have gone even further: neurophysiologists are conducting research in the field of transmitting sensations directly to the viewer's brain. This will be realized with the help of special software equipment, which will form a full range of sensations directly in the nervous system.

This approach leaves filmmakers arguing about where the frontier of filmmaking ends and conventional video begins. There are skeptics who believe that cinemas will not resist the onslaught of new technologies and will give way to home cinema screenings, but most experts believe that the need to get emotions from people on a massive scale is ineradicable, so they will flock to cinemas to watch movie masterpieces.

Physical education

The formation of a personality culture is impossible without the development of physical culture. Ensuring the health and normal state of one's body is one of the manifestations of a person's personal responsibility to himself and his descendants.

New technologies in physical culture imply, first of all, the formation of the correct perception of this discipline among the younger generation. Control over all body functions and responsibility for one's health should become central objects in this science.

Physical culture implies a sufficient amount of theoretical material, which is often neglected in the program. But with the use of new information technologies, this gap can be filled, which has been adopted not only by progressive sports centers, but by universities and even individual schools.

In order to quickly and effectively explain to the student the techniques for performing certain movements or a set of exercises, computer technologies are now used. Often, the biographies of athletes are presented in the same way and their best achievements are demonstrated. This makes classes not only more dynamic, but also more memorable.

New technologies have not spared professional athletes. Special complexes have been created with overhead sensors that register impulses and electrical signals. Based on this data, the trainer and the athlete can track the load, the correctness of the exercise or their elements, and the overall effect obtained from the training.

Exhibitions

Cultural expositions and various exhibitions have received a new round of development thanks to the application of innovative proposals.

Over the past 5 years, a new format has appeared in the exhibition culture, which is gaining momentum very quickly - video mapping. It implies the use of image projections onto any physical objects. With the help of video mapping, you can transform the space of rooms and objects, taking into account its shape and location.

This technology becomes the central mechanism of exhibitions due to the fact that it is an easily implemented mechanism for show and presentation. The physical object on which the image will be rendered can be an object of any size: from a small model to a huge surface of a multi-storey building structure.

Another technology actively used at cultural exhibitions is the augmented or augmented reality system. It is the result of introducing different amounts of sensory data into the field of view, which complement the existing picture to form more full image... With the help of this mechanism, the virtual and the real are combined, and their interaction in real time becomes possible.

Excursions

Excursions have always been the main point of the tourist cultural program. Their transformation began a long time ago: audio guides began to supplant guides with the advent of headphones. Changes continue, and this area is developing in step with the times.

Touchscreen kiosks

New technologies in culture have made excursions possible without guides. For this, in the halls of museums, touch-sensitive kiosks are installed, which are a software complex based on a computer, which is equipped with touch monitor... The touchscreen kiosk contains graphic, text, audio, video, music and animation information that can be accessed by every visitor to the museum.

Since in a person, under the influence of all types of perception, the information provided causes a greater emotional response, then you can be sure that the data obtained during such an excursion will remain in memory for a long time. With the help of a diverse presentation, a person can more fully immerse themselves in the world of culture and history. It is also convenient that foreign visitors can choose for themselves desired language and get comprehensive information in any museum in the world, even if they do not speak the language of this country.

3D excursions

Another format of excursions adopted in the field of culture is 3D tours and excursions. It will help those people who cannot visit the desired cultural site or city, but want to get an exhaustive picture of it. The virtual excursion contains united spherical panoramas, which can smoothly and alternately replace each other. The virtual tourist can choose the direction of the route himself, by controlling the field of view with the mouse. As a rule, auxiliary elements are added to the usual visual picture: pop-up windows with information, labels, graphic control keys, etc.

Thanks to such excursions, you can visit most of the expositions of the most famous museums. In the same way, they make virtual walks through the most beautiful places in big cities. 3D tours have allowed millions of people who are unable to visit the places of interest to them, to visit these cities or museums.

Use the search form on the site to find an abstract, term paper or thesis on your topic.

Search materials

New social technologies in the field of culture

Culturology

New social technologies in the field of culture (Cultural foundations of the modern manager's professiogram)

The most significant result of the development of technologies of humanitarian knowledge in the XX century was the interpenetration of the social and cultural. The "revolution of managers", which at the turn of the 18th-19th centuries transformed the system of scientific knowledge into successive waves of industrial transformations, continued in the 20th century on the basis of humanitarian knowledge. The results of social and humanitarian (culturological - following the classical neo-Kantian division into knowledge about nature and knowledge about culture) studies formed the basis of the so-called social technologies, which gave a new impetus to the development of models of public and public administration, organization of production, evolution of living standards, etc.

Against this background, the obvious "resonance" of cultural studies, as well as a general increase in social activity in the humanities, takes on a special meaning. The history of world culture shows that the growth of interest in humanitarian knowledge usually precedes radical changes, both at the level of individual countries and the entire geopolitical context. (France in the second half of the 18th century, Germany in the 19th century, Russia in the early 20th century, etc.). Interest in the key problems of the cultural and historical tradition, in national and regional types of thinking and mentality, in the issues of language and art, education and law is important not only as a traditional direction of academic curiosity, but as a resource for forming a policy of a fundamentally new type.

In this sense, ideas about culture are gradually losing their "museum untouchability" and are becoming socially engaged, just as the ideas of pure experiment and research in natural sciences were once engaged by engineering and design thought. The main nerve of the cultural revolution of the twentieth century lies precisely in the gradual transition of the perception of culture as a system of self-evident and self-sufficient samples to the understanding of its instrumentality, that is, the ability to exert a directed and predictable influence on all aspects of human practice and life.

We can trace the signs of this evolution through the most traditional cultural institutions. So, for example, there is no doubt about the rapid transformation of the museum - according to a long-established tradition, a place of elite collecting and research - into a center for the formation of leisure and work with free time for the most diverse social groups. No less indicative is the phenomenon of "modern" art, for most forms of which the social consequences of any cultural action are more important than its immediate content - a kind of "aesthetics of sociality". It would probably be just banal to dwell once again on examples of audio-visual waves, etc., etc.

But perhaps more important are the consequences of the humanitarian explosion outside the sectoral understanding of culture and culture. Insufficiency and ineffectiveness of political and economic tools becomes in some cases a kind of challenge to humanitarian practices - in the entire range from personal psycho - and cultural techniques to the global scale of work with the way of life and traditions of vast cultural regions. Initially, the need for "cultural and technical" intervention arises in the era of industrial modernization, when it turns out that the layer of cultural traditions and the established way of life directly affects the prospects for technological progress, namely, has an obvious resistance to all and any historical innovations. This turns out to be true both in relation to an individual (stress and devaluation of human value) and on a macrosociological scale (loss of cultural identity, negative aspects of urbanization, etc.). But this cultural change in social processes, which appeared in the eyes of "social engineers" as an obstacle to modernization, turns out to be capable of replacing, and in some cases even displacing economic and political methods of regulation that are more familiar for the new time, for, in the words of Merab Mamardashvili, "culture is what remains when I have already forgotten everything. "

Thus, the meaning of the processes taking place in the field of culture is significant not only for culture in its traditional understanding. Cultural programs can be viewed as a kind of experimental zone, where methods of organization and interaction that are applicable in other areas of human practice (economic, political, educational) are worked out and rehearsed.

This thesis with good reason can also be attributed to new forms of interaction and cooperation in the European cultural space.

Currently, there are perhaps three global themes within which European cultural cooperation (and the resulting European cultural policy) finds its fullest expression.

Chapter 2. Human rights.

The topic of human rights stimulates research in the field of cultural and philosophical anthropology, pedagogy, psychology, including the problem of mastering local cultural practices with their special attitude to those artifacts that have previously fallen into the focus of traditional "history of art and culture".

In fact, we are dealing with the double effect of the influence of the theme of "human rights" on the sphere of cultural activity. First, the concept of cultural work is gradually changing: the orientation associated with the idea of ​​the need for the "social promotion" of cultural samples to the "masses", the creation of conditions for initiation and access to cultural values, is replaced in a number of cases (this case can be carried as a purely geographical and political guise) with an increasingly clear awareness of "cultural rights" as the right to one's own, albeit local, cultural specificity, conditioned by the peculiarities of cultural evolution. In a cultural sense, we are dealing with the end of a period that could be characterized as the prevailing political hegemony of nation states, based on the fact that nationalism in state guise, according to Ernest Gellener, is nothing more than the unification of ethnic and microsocial characteristics for the sake of to maintain unity within government units. In other words, national specificity at the state level is a fundamental averaging of many local cultures that found themselves within certain boundaries in the process of the folding of national states (something reminiscent of the average temperature in a hospital). In many ways, by the way, the notorious mass culture is a kind of heir to nation-building with its inherent mythology and stereotypes.

At the same time, attention to the idea of ​​cultural regions with their specificity within the framework of the state structure is an attempt to overcome the idea of ​​the state as a single (or predominant) subject of the national-cultural process.

In this sense, cultural activity makes the political and administrative boundaries "transparent" both within the country and between countries. It is no coincidence that the Council of Europe in the period after the Maastricht Treaty makes significant contributions to the development of international cultural routes uniting different regions (territories) from different countries continent (programs "The Way of the Vikings", "Silk Road", etc.). The idea of ​​cultural regions, first heard in the Maastricht Treaty, is intended to balance the rigidity of political boundaries in the future Common Europe, making these boundaries more mobile and permeable. In this case, the main subjects of cultural law are small groups and individual individuals representing these groups.

Secondly, an indirect consequence of the transfer of the concept of human rights (and small groups) to the sphere of culture was an avalanche-like increase in the volume of “cultural material” to be mastered in the process of interregional cultural exchange. The right to one's own culture means at the same time the equal value of any cultural object and cultural forms of behavior and, accordingly, imposes certain requirements on the principles and types of communication. This means that the latter can no longer be built in accordance with the established cultural hierarchy, so characteristic of the “Eurocentric model” of relations traditional for the previous stage. In culturally critical periods, the concept of culture in its classical understanding (ideal "Eurocentric" model) is based on correlation with an ideal (incomprehensible and perfect) placed either in the space of the classical past (Platonism of the Renaissance), or in general in timeless reality thinking and reason (the rationalism of the Enlightenment). In either case, one has to deal with a purely hierarchical system, within which any artifact is evaluated according to the degree of its closeness to a certain universal model - the ideal. This, in turn, initially limits the range of phenomena that can be “attributed to the department of culture,” and builds communication in culture according to the normative principle.

The non-normative principle of the selection of cultural material and the non-normative type of communication imposes special, different requirements for the organization of activities in the cultural sphere, which finds expression in the widespread criticism of the currently existing cultural institutions and principles of management and management.

Support for local territories and sub-state formations .. The system-forming factor is the attention of European political institutions to various local social communities (as opposed to macrosociological approaches, in which “universal” formations such as “class”, “state”, “nation” and etc.). In the logic of the “miniaturization” of the subject, other structures come to the fore - cultural regions, local communities, diasporas, etc. This, in turn, stimulates a keen interest in local traditions, local self-government, local dialects, and the ways in which interactions take place outside and across administrative and political boundaries.

Turning to a historical analogy, one could say that just as during the period of the formation of monarchies, the central government relied on city government to fight the feudal freemen, and now the supporters of a united Europe rely on local communities to limit the selfishness of individual states.

Cultural autonomy as one of the achievements of the micro-regional approach is, in fact, only the initial condition for obtaining real social and economic benefits. The practice of Western European countries over the past 15-20 years has shown that cultural autonomy and culture in general are the most important factors in changing the way and quality of life in certain territories, this is associated with the emergence and development of a number of socially oriented programs. These include: the formation of a regional and urban environment with expanded cultural and educational opportunities, the provision of leisure activities based on information infrastructure, the development of cultural tourism with the entertainment industry, local environmental programs, the reconstruction of traditional crafts and crafts, creating conditions for the development of small and medium-sized enterprises. business, etc.

Regional and territorial cultural development is currently one of the basic conditions for European cultural cooperation and thus contributes to the solution of many social problems, which for a long time could not be solved within the framework of the "homogeneous" state policy.

I. Today, there is objective evidence of the effectiveness of cultural technologies as a factor in the restructuring of the professional map of territories, the redistribution of jobs and the flow of work potential into the service sector. Fifteen years of experience of countries such as France, Spain, Turkey shows the actual possibilities of this direction of social policy. It should be emphasized that it comes not only about the coasts of these countries, which are attractive from the point of view of "passive tourism", but also about the "inner regions", where the main object of work is cultural forms of activity proper.

In Russia, if we talk about analogies, there are a number of territories with a high proportion of obsolete industries subject to conversion or restructuring, and at the same time possessing rich cultural potential (Yaroslavl and the entire Golden Ring region, Arkhangelsk, Nizhny Novgorod, etc.). In the Arkhangelsk region, for example, the share of military-industrial complex production is about 80%, and the rest industrial enterprises are not in the least able to provide full employment for the population. Adequate use of the developed models of social and cultural policy in the field of retraining and changes in the structure of employment in local territories may be of interest to local and regional authorities. Here we can see the possibility of cooperation between the cultural sphere and management systems related activities of the socio-economic cycle.

The question is, to what extent the educational training of modern cultural managers corresponds to the solution of professional tasks that lie outside the purely sectoral approach and relate to the problems of the development of the environment as a whole, and not of its individual components.

II. The topic of the cultural specifics of a territory (oblast, region) as a basic factor of development and inclusion in the context of European cooperation requires special forms of work, which by their nature are impossible without partnership relations between social movements, entrepreneurs and authorities. On the one hand, this is a complicating circumstance, but on the other, it creates the basis for the emergence of models of social partnership between the “first, second and third” sectors and, therefore, contributes to the development of local self-government. Local authorities, taking into account this cultural factor, are simply forced to act in a "public administration" regime.

In a number of countries, the so-called Councils for Culture are effectively operating, which include in equal proportions representatives of public, business and government structures. It is these Councils that make decisions in this area and, importantly, coordinate investment flows in the direction of technologies for cultural activities. Interesting in this regard is the experience of the National Trust of Scotland, whose members are 250,000 people (more than 5% of the population). Not a single decision of the Scottish authorities, including in the political and economic sphere, can be made without taking into account the opinion of this organization.

In terms of the vitality of the cultural sphere, an orientation towards social partnership provides a chance to break through the vicious circle of sectoral isolationism and enter into partnerships with the most mobile entrepreneurial and social movements.

III. In the Russian situation, the interest in local specifics, characteristic of cultural projects of the new generation, objectively contributes to the tendency towards the “reconstruction of the local history” of the place (as opposed to the unification imposed by administrative methods), which resonates with the development of differentiable forms of local self-government (and if we look for historical analogies - is one of the modern forms of continuation of the "zemstvo" tradition with its local history setting).

Chapter 4. Management experience of entrepreneurship in the field of cultural practice.

This “section” of European cultural policy unites in a peculiar way the theme of cultural heritage and the most modern (in organizational and technical sense) methods of management work, analogs of which were born in the experience of private entrepreneurship. The most effective is the transfer of appropriate forms of work to relatively small (local) entities that consider themselves not as an object of public and state charity, but as an independent organizational unit, including in the economic field.

For example, studies on the economic efficiency of cultural activities are carried out everywhere and are aimed at demonstrating the investment capacity of this area. (For example, the published data of the Council for Culture in Edinburgh suggest that on? 1 investment the local community makes an average profit over three years - both direct and indirect - in the form of new jobs, infrastructure development, transport and hotels in the amount of? 40. True, this, obviously, is possible only under the condition of "promoted" activities, when the costs of attracting attention are automatically minimized, and the infrastructure at the disposal of the Council meets certain requirements).

In any case, it is clear, for example, that the impact of comprehensive cultural tourism programs on areas such as hospitality, construction, roads, transport, publishing can hardly be overestimated. Particularly attractive, from the Russian point of view, is the area of ​​information technology and communications, which should be involved both at the stage of preparing programs (inventory of monuments, systematization of cultural routes, dissemination of information, etc.), and in the course of its practical implementation.

Activities such as cultural tourism and traditional handicrafts, with their attention to local customs, are the ideal launching pad for small business development. The entire set of management technologies, from strategic marketing to personnel management, becomes in this case not a tribute to time, but an elementary condition for survival. Within the framework of such programs, small enterprises with their own infrastructure, a system of jobs and the need for an appropriate economic justification are absolutely appropriate, which, by the way, fits well into the framework of many projects to support small and medium-sized businesses, which are carried out by numerous funds throughout the European space.

This latter circumstance gives rise to special professional requirements for fundraising skills, the ability to organize PR companies, the ability to work with grants from international organizations, and so on.

In any case, “cultural entrepreneurship” is that new dimension of activity that allows culture as a whole to dissociate itself from its “costly” status and claim the role of the most important resource for regional development. The shift of emphasis from the traditional concept of "resources for culture" to "culture as a resource" is the most important for cultural management in general and most directly affects the status and role of a cultural manager in the cultural community.

Raising the general social status of cultural activity, on the one hand, and determining the priority topics of international cultural interaction, on the other, impose their requirements on the practice of cultural management and set it quite definite guidelines.

The most adequate response to the nature of the above requirements is the “ideology of networks”. The management principle of the network marks the gradual abandonment of the classical hierarchy of organizations and the transition to partnership as a priority organizational principle. From the point of view of control theory, this process can be defined as the transition from the classical theory of organization to the theory of games.

The Ideology of Networks takes into account two main components. On the one hand, this is an orientation towards the utmost preservation of locally specificity (of all parties and participants of a project or program). On the other hand, the introduction of the most modern (advanced) forms of organizational support. Information support, retraining of specialists, fundraising methods and other infrastructural elements belong to the field of support for individual projects and programs, but at the same time they are not limited to them and retain their significance for other projects and other participants in the organization.

In this sense, development network infrastructure can be viewed as a separate area of ​​activity, common to all network participants, regardless of the nature of their specific goals and project orientations. (Under the conditions of hierarchical organizations, the diversity of goals of individual participants is often lost, and the paradox of “infrastructure as an end in itself” often arises).

The sphere of culture, in contrast to more rigid social technologies (say, industrial-industrial and financial, where transnational corporations can serve as an analogue of the network, but with a completely different history and principles of organization), is most prone to the manifestation of personal and local initiatives. Therefore, "cultural networks" are becoming a kind of experimental platform in the post-industrial European space. In this case, they act as a kind of response to the problematic situation associated with the formation of a "social state", that is, a state that seeks to be the spokesman not for global political or economic doctrines, but for the interests of microgroups and individual individuals.

In the field of cultural practice, the nature of the network organization is transformed into a certain system of requirements, the complex of which underlies the ethics of modern cultural management.

In fact, everyday consciousness has never recognized ethics as a true criterion of activity and could not agree that it is ethics that is designed to regulate the organization of any activity, regardless of its scale and affiliation. In the same everyday consciousness, an imperceptible substitution takes place, in the process of which ethics (theory of activity!) Is confused with morality, that is, with what is related to the personal aspect of human life. A universally significant, but little understood paradox arises, which is directly related to the problem of personal and collective responsibility. An individual person, a specialist and a professional, is essentially separated from the organization (institution) in which he has to work, since he is responsible only for that "narrow" business that he directly performs. This is the very phenomenon that in philosophical and sociological language is called "partial man".

Exceptions that seem to exist at first glance are often not really such, because “loyalty to the organization” cannot carry an ethical burden, since corporatism again has to do with pragmatic good (organization, profession, party, etc.). Moreover, corporate unity is often in obvious conflict with both ethics and morality. Thus, we can talk about "collective egoism", but by no means about collective and personal responsibility. (Incidentally, this can be considered one of the typological features of transnational corporations, where the corporate orientation replaces the ethics of activity).

The network form of organization, from our point of view, is an attempt to synthesize individual moral norms, including professional ones, and ethical norms of activity. In this sense, one of the challenges postindustrial society consists in an attempt to overcome the professional part of a person (it is sometimes called in-depth specialization). From this point of view, the network is a unique entity capable of combining organizational principles with ethical ones. Without any of them, individual responsibility remains flawed, and collective responsibility simply does not exist. It would probably be even more accurate to say that the principles of organization are the expression of ethical consciousness. Tolerance and attitude towards understanding, horizontal communication mode and fundamental openness, transparency of decision-making, the ability to cooperate as a professional requirement - all this (ideally, of course) refers both to the practice of organizational management and to the “ethical imperative”.

Culture and art are a special world where any local action measures itself against the whole, and therefore, perhaps, it is here that the thesis that the release of spontaneous initiatives should not only serve to express private interests is most limited; it should lead to the liberation of the paralyzed - in the words of Jurgen Habermas - political energies. This, it seems, is the main solution to the problem of harmonizing ethical and moral, universally significant and personal, collective and individual responsibility.

The aforementioned priorities of international cultural policy based on the rights of small groups and individuals, locality and entrepreneurship (entrepreneurship) are being transformed into a requirement of a certain type organization of activities, where each individual project (organization, institution) is a full-fledged exponent of the sphere as a whole. However (and this is the main management problem at the end of our century) this does not mean at all a uniform unity of goals and methods of activity. The paradox of a plurality of target orientations with the constant preservation of the possibility of partnerships and cultural cooperation gives rise to the need for specific forms of management that lie at the interface between the technology of managerial skills and personal, subjective inclinations (not to say "talent").

Some of them are basic, existing in parallel as elements of both organizational practice and ethical attitudes towards their own activities. Here are some examples.

1. Organization as creativity.

To the extent that the scale of any (cooperative) cultural project is not limited exclusively to cultural meaning and short-term goals, elements are laid in its organization that can be used in the further development of cooperation with the same or with other partners and which are not identical in meaning a particular cultural initiative.

The background of any organizational decision in the context of a network ideology has “two dimensions”. First of all, each decision is necessary for this particular project, but at the same time it lays the foundation for possible future action within the framework of projects of a different type and with other partners. The managerial action should (ideally) maintain both guidelines (the nearest step and further perspective), and management itself turns into the art of playing with many goals on one project material.

In this sense, networking is always a kind of game, taking into account many decision-making factors, the most important of which is the principle of maintaining the possibility of the next step - a step that is not fully understood and, of course, not yet planned. This feature fundamentally distinguishes the organization of the network from the organization of the traditional type, where the “products” of the next step become the only measure of efficiency, and the goals of the organization itself, in fact, are identified with these “products”. The approach is quite expedient from the point of view of industrial and industrial technologies, but hardly exhaustive in the humanitarian sphere, where mutual understanding and solidarity, if they can be made permanent, acquire a new independent value.

2. "Transparency" of the decisions taken.

The presence of many partners involved in decision-making in the preparation and implementation of projects complicates, even bureaucratizes the decision-making procedure itself. In these conditions, the mutual openness of the participants is essential: clarification of their own goals, motives and grounds, publicity of discussions, attention to the problems of internal and external communication. This often complicates the course of the project, but at the same time has undoubted advantages, since it is compensated by mutual trust.

In the longer term, this kind of practice also acquires a pedagogical meaning, since, due to the aforementioned "transparency", it allows participants different levels and the qualifications to observe the “inner workings of project activities”, which makes the networked organization the prototype of the “lifelong learning” model.

"Network as a lifelong education" is generally a key concept for this method of organization, the origins of which lie in the nature of the game, since it indicates the basic and common meaning for all, not directly related to momentary pragmatic needs, but serving as a means of accumulating intellectual and spiritual resources for indeterminate, that is, a free future.

In the words of Johan Heizinga, play is not everyday life as such. It interrupts the uniform flow of everyday life and narrowly understood reality, for the goals it serves themselves lie outside the sphere of material interests or individual satisfaction of needs. Play serves the good of the whole group, but in a different way and by other means than those that are directly aimed at satisfying vital needs.

The clarity and "transparency" of decision-making, therefore, obeys the above-stated "principle of creativity": ensuring the implementation of a specific partnership project, it, at the same time, has a long-term and generally significant educational perspective.

At the same time, it is clear that emerging communication models turn out to be more durable than individual projects, and become very significant for the subsequent development of the cultural sphere as a whole.

3. "Environmental friendliness" of ongoing projects.

By this term, we mean the need to pay the same attention to the consequences of ongoing projects as to the projects themselves. The consequences for each of the participants have a different meaning and content, and, therefore, a preliminary examination (like the preparatory period itself) requires no less resource investments than the phase of immediate implementation.

Generally speaking, the problem of implementation consequences transfers us from design logic to software logic. This aspect of the manager's activity deserves a more detailed consideration.

In fact, the very theme of responsibility that was raised in relation to the ethics of activity in general manifests itself in the more particular problem of the gap between the immediate and concrete act of action (project) and its long-term or implicit consequences. In a sense, this can really be called an environmental problem, since it is within the framework of this approach that the consequences seem to be no less, if not more, important than the project or action itself.

The ecology of nature, man, culture, and in a broader sense, the ecology of activity, give rise to a special type of problem, the attempt to answer which is due to the emergence of the principles of network organization. The very nature of the network with its information transparency and openness for discussion can be viewed as a mechanism for preliminary criticism, accounting and analysis of the immediate and distant consequences of any private project. By at least, at this point lies the future possibility of limiting the "project enthusiasm", allowing serious consideration of projects for turning rivers from north to south, or to pursue an industrial policy that completely destroyed the cultural basis of entire regions.

On the other hand, the same qualities of the network offer a tempting prospect of expanding the scope and meaning of any particular project, insofar as the multiplicity of meanings and use cases of the results depend on the variety of situations presented within the network. After all, it is quite obvious that the same action contemporary art will be perceived differently in the capital and provincial cities; the meaning of the next publication of Salman Rushdie's book is far from being limited to the framework of culture and again depends on a specific region; in the same way, information projects on the territory of the former USSR have social and political significance.

Thus, international cultural networks can (again, ideally!) Raise the importance of individual projects to the level of influence on the general socio-political situation in different areas. In this sense, any project implemented in a network seems to go beyond its own limits, and its potential is directly proportional to the variety of units and areas that call themselves a network. This brings out the real and important meaning of diversity. It is not productive in itself (Babylonian pandemonium, that is, diversity, far from productivity), but as a multitude of opportunities for applied (that is, not foreseen by the author) use of the results of any local project.

Thus, the network is a special social mechanism for limiting and criticizing project proposals, but at the same time it provides the development and support of initiatives, enriches them with content and meaning that are absent in the original version.

Another thing is that to implement this kind of function, a sufficiently high professional level is required, which allows to provide such works as situational analysis and applied design, comprehensive forecast and planning of regional development, development of game theory and public communication, social programming and system innovation, as well as much another, which partly already exists, but most organically takes root in the network context. This set of professional positions is generated by the problems that we are trying to discuss, but it finds its fullest effectiveness within the network organization.

Consciously (environmentally) working with diversity means giving each individual element of this diversity the status of universality and universality. Strictly speaking, when the private and the subjective becomes universally significant, this means for him the acquisition of the status of uniqueness. This last principle - so obvious for an artist and a person of culture - turns out to be true for key issues of the modern world, such as human rights and the rights of ethnic groups and diasporas; transformation of backward provinces into full-fledged regions; reconstruction of local cultures and lifestyles; development of the local self-government system as a guarantee of sustainability and stability, etc.

People who consider themselves to be cultural figures find themselves face to face with tasks, the scale of which far exceeds those that they were ready to solve when, guided by subjective inclinations, they once entered this sphere. The significance of the cultural factor and the degree of influence of any cultural act on the surrounding reality have changed in the most significant way over the course of the last two generations; and this is in clear contradiction with the freedom of the subjective and personal independence, which were so attractive in the world of culture and art. The latter is especially important for post-totalitarian states, where the possibility of personal realization has a special historical price.

Such a paradoxical combination of the subjective and the universally significant - polar but coexisting requirements for the organizers of cultural projects - brings us back to the basic content of the managerial profession, which was designated as a complex of "objective" management technologies and "subjective" attitude to the material of culture. Both aspects are equal components of the emerging ethics of the profession.

These and a number of other professional characteristics begin to form a new system of requirements for the work of a manager in the field of culture and cultural policy. It is easy to see that special qualifications in the aspect of interest to us are not limited to a set of purely technical (specialized) requirements, but also appeal to the value attitudes of a particular employee.

This circumstance makes it possible to form, in a preliminary approximation, an approach to the problem of "ethics of the profession" and to correct the practice of training and retraining of management personnel for the sphere of culture.

Description of the subject: "Culturology"

Culturology is a humanitarian science that studies the patterns of development and functioning of culture, its structure and dynamics, interconnections and interactions with other spheres of material and spiritual life. The subject of cultural studies is the objective laws of human and national cultural processes, as well as monuments, phenomena and events of the material life of people.

The sources of cultural studies are: - historical sciences: civil history, history of specific sciences, history of art and individual arts, history of pedagogy, history of religion, etc .; - Applied historical disciplines: archival science, museology, library science, regional studies, oriental studies, etc .; - auxiliary cultural disciplines: archeology, heraldry, paleography, numismatics, sphragistics, textual studies, etc.

The basic concepts of cultural studies describe internal structure culture: cultural values, subject of culture, etc .; characterize the cultural process: cultural heritage, cultural traditions, etc .; connect culture with other branches of social science.

Literature

1. Children and culture. - M .: KomKniga, 2007 .-- 288 p.
   
2. Yu.M. Kuznetsova, N.V. Chudova. Psychology of Internet residents. - M .: LKI, 2011 .-- 224 p. With 9 before 21 hours in Moscow.

Attention!

Bank of abstracts, term papers and theses contains texts for informational purposes only. If you want to use these materials in any way, you should contact the author of the work. The administration of the site does not give comments to the works posted in the bank of abstracts, and does not give permission to use the texts in whole or in any of their parts.

We are not the authors of these texts, we do not use them in our activities and do not sell these materials for money. We accept claims from authors whose works were added to our bank of abstracts by site visitors without indicating the authorship of the texts, and we delete these materials on demand.

The time when modern information technologies (computers, Internet, e-mail, CDs, DVDs) were perceived by cultural workers as a kind of exotic, expensive, and even inaccessible toys, passed very quickly. Back in the mid-1990s, among the leaders of the cultural sphere, there were often characters who reasoned according to the following scheme: “I don’t know how to handle a computer, but I don’t need it in my museum, my library, my archive, my theater, my concert organization, my school, my university, because our system works great. We always filled out our filing cabinets and inventories by hand, writing letters on a typewriter. Computers are expensive, and they also cost a lot of money to maintain and upgrade. The training program is also very expensive. Why then all this? I deal with complex issues, and for technical issues I have a secretary. In addition, computers will dominate us, but the artistic level of our work is much more important: we must read, see and hear everything in the original, and not in pale reproductions. Children will stop reading, and will only search the Internet for stupid and even dangerous games, they will find unwanted programs, such as pornography, there. People will stop visiting the museum to admire the magnificent colors of Isaac Levitan. They will no longer go to the concert hall to listen to Tchaikovsky, where people play him for people. This is how the arts can lose their social function. People will suffer from loneliness - at least in rich countries, where they can afford to use all these new tools. This threatens the entire society. And even in society, two classes of people will arise. The rich will have every opportunity to receive information, but the poor will not. This will split our society. "

Such massive resistance has already somewhat subsided today. Nobody asks for a fax number anymore, they ask for an e-mail number, because it allows you to keep in touch with the whole world easier, faster and cheaper, and everyone can learn how to use this simple technique. The computer is just an improved typewriter. Email is a great and cheap means of communicating with colleagues around the world. Every employee in a museum, archive, library, wardrobe department of an opera or drama theater is glad that there is software that allows you to quickly and flexibly register and replenish funds; any department of culture is happy that now it is possible to draw up the financial report more clearly and transparently. In all these and other cases, no one today will deny that new technologies are a convenient tool that makes work easier, simplifies and cheapens communication, and stimulates the creation of networks and the exchange of information. Now one museum through the Internet can get acquainted with the funds of another. Now the library can speed up the exchange of information and books, because you can very quickly find out which library contains the information or book you want. Scientists can now quickly gather information on their topics, and many scientific journals are now only published on the Internet. Now one culture department can quickly exchange data with another, which can be used very well in daily work.

The problems that were pointed out by critical voices turned out to be minor: people supposedly become more lonely, social ties are disrupted, because these people now have everything at home: videos, CDs, television, computers. However, these apocalyptic predictions did not come true. Children's and opera houses are now better attended than ever before, libraries are full of readers, there are queues to museums, people go to the movies, and they even show great interest in literary readings and alternative dances. And new means of communication not only do not interfere with all this, but, on the contrary, increase interest, make traditional types of cultural activities more accessible, and contribute to better information about them. It is quite obvious that a person remains a person - this is a social being, he not only wants to see and hear the artistic original, he wants to do it in the company of other people with whom you can discuss all this over a cup of tea, a mug of beer or a glass of vodka.

Now there is less talk about the fact that people will stop reading, that by doing so they will cut themselves off not only from old and modern literature, but also from the traditions transmitted by means of writing, that they will lose their roots, which every person needs. But today, many studies show that those who use the Internet read more than those who do not. In addition, the Internet forces people to read, but read in a different way than before: shorter, faster, more fragmentary, less detailed. Public libraries, which should closely cooperate with schools, are now faced with the task of combining traditional reading with reading on the Internet, finding a balance between the two, encouraging the reader to in-depth reading, and when visiting cultural institutions, teaching them how to make this visit interesting and exciting. using new means of communication.

Forms of work and services. It's about new forms "Presentation of culture". First of all, this is the problem of providing access to new information technologies for people who cannot afford to have them at home. (Remember that two-thirds of the world's population have never spoken on the phone.) Public libraries play a huge role here, in close collaboration with schools. Libraries have long been not just factories for the issuance of books, they are cultural and information centers for all segments of the population. Many librarians, especially the older generation, found it difficult to get used to this role, but the younger ones coped with it, they work with passion. By the way, it is very good that the young teach us something, the elderly, and not just the other way around, as is usually the case. Today almost everyone public libraries equipped with computers, more and more schools receive computer technology. A wide variety of computer courses are offered: for children and young people for free, and for adults at very low rates. Special sites on the Internet are being created for children and young people. On the shelves are specially selected computer games - an introduction to the Internet should be fun, as well as countless computer textbooks and reference books. These courses teach not only how to use a computer, but also perceive e-mail and the Internet as an auxiliary tool that complements the book, but in no way replaces it.

For several years now, the International Museum Biennale, held on the basis of the Krasnoyarsk Museum Center (formerly the Lenin Museum), has become one of the brightest events in the international museum business. And to a large extent this is due to the use of modern information and technical means both in the presentation of individual expositions and in the creation of a single space for the entire Biennale.

One of the first multimedia materials created in the field of St. Petersburg culture was the CD "Excursions around the State Russian Museum". The user, according to the layout of the halls, could choose the hall of interest to him, orienting himself on the hanging and arrangement of the exhibits, select any of them, get acquainted with his image in the middle ground and several close-ups(fragments), the history of creation, as well as the biography of the author, a characteristic of the direction to which he belonged. A certain drawback of this multimedia was the pictorial series, which was based on copies from photographs from albums.

This shortcoming was overcome in the highly sought-after compact disc "100 Contemporary Artists of St. Petersburg". Each artist is represented in it by 10 paintings (special photography from the original), biography, direction characteristics, exhibition design, expert feedback.

The State Museum of the History of St. Petersburg has prepared and released a CD-ROM multimedia educational program "Alexander Blok", created on the basis of the collections of the A. Blok Museum-Apartment. The CD provides an opportunity to take a virtual tour of the museum and get acquainted with the funds. The disc contains complete collection photographs of the poet, his family tree, an interactive map of St. Petersburg with addresses related to the life and work of A. Blok and other materials.

This CD is used not only for its intended purpose - for educational purposes - by educational institutions and individuals, but also by the museum itself, which has received new opportunities for presentation and participation in various exhibitions in the country and abroad.

Many guests of St. Petersburg complain about the practical lack of modern souvenir products, primarily multimedia. Meanwhile, in cultural institutions, in the field of culture as a whole, there are colossal funds of cultural and historical heritage, leading humanitarians (historians, art historians, etc.), specialists in computer programming and media design live and work in the city, there is a developed a production base for the mass production of high-quality multimedia, which would be in high demand among tourists, in the education system. Probably, only a certain inertia of workers in the sphere of culture and its governing bodies hinders the solution of this problem. It seems that the situation in other Russian cultural centers is also close to that of St. Petersburg.

Typically, the websites of organizations, institutions and firms provide traditional information: information about the firm, characteristics and results of work, some promising programs and projects, promotional materials... This is the simplest solution: we have prepared publications, releases, published a brochure, filmed photo and video clips, there is an electronic version of them - so it is posted on the Web. In this case, only a small opportunity of the Internet is used, which, in the figurative expression of one specialist, "for advertising and PR is the same as a carriage of chocolate for a baby." Indeed, the use of opportunities lags far behind the technical development of the Internet, the potential of which is an order of magnitude greater than simple use. electronic versions traditional types of information.

Multiframing, entertaining animation, virtual reality, real audio, multimedia - and even interactively, in real time - all this creates tremendous prospects for the promotion and organization and its activities!

So, a few years ago in St. Petersburg an information site about the theatrical life of the city appeared: information about premieres, expert materials and, of course, a monthly poster arranged by theaters and dates. Soon, through this poster, it was already possible to go to the programs of the performances, through them - to receive photographs of the artists involved in these performances (including in costumes). Then this menu was supplemented with the layout of the hall. The next step suggested itself, which was taken - electronic ordering and sale of tickets. As a result, not only residents of the city, but residents of other cities and countries who are going to visit St. Petersburg received the opportunity to purchase or book tickets.

Enlightenment and education. In the modern world it is no longer enough to technically own a computer, it is not enough to actively use it as a working tool. Probably the most difficult thing is the ability to analyze the flow of information coming from all over the world. The world of the Internet provides an easy and affordable outlet to the enormous cultural diversity that exists in the world. There is a huge variety of cultures in the Russian Federation alone. It can make our world richer and more interesting. The “world without borders” opening in the electronic network makes it accessible in the required form. This clarifying information is needed for economic courses: anyone who wants to trade must know the habits of their potential trading partner. It is also needed in courses for people involved in politics: those who want to correctly assess the political situation and avoid disasters must understand the behavior of their political partner, which is influenced by national traditions. Therefore, such explanatory information is necessary, first of all, in educational institutions in order to teach a person at a very early stage approaches to another, alien: culture, as well as in cultural institutions.

Equipping libraries and schools with computers and training teachers has cost and is still worth. They were not, these expenses were not planned. By the way, the European governments were in the same situation. Until a few years ago, none of them had their own Internet site with links to related institutions and topics. Today everyone has them, because it is simply necessary. They all had to reconsider their priorities and spending lines in order to keep up with life and participate in the political, economic and so important cultural dialogue in the modern world.

Partnership. Electronic communication makes it possible to establish partnerships on an interregional and international scale.

In Rostov-on-Don, on the basis of libraries, an electronic program has been implemented to help teachers and schoolchildren under the programs "World Art Culture" and "History of Russian Culture", in which museums, libraries, theaters, art and music schools participate.

The Krasnodar Art Museum came up with an initiative (the author of the project was E. Kosopoiko) to create a museum library center in Russia, uniting the resources of museum libraries.

The result of two seminars devoted to the use of new information technologies in the management of the sphere of culture was the project of creating a server “Cultural life of the South of Russia” on the basis of the State Don Library. Its creators and users are employees of cultural institutions of a vast region from Donbass to Astrakhan and from Volgograd to Stavropol and Dagestan. By distributing the functions and directions for the formation and maintenance of the server, the project participants were able to accumulate regional information about holidays and festivals, exhibitions and competitions, conferences, grants, publications, educational projects and programs. Presented on the server and a database of in-demand specialists and specialists looking for an application for themselves,

Attraction of resources. As already noted, main resource in the field of culture - a community of interests, their activation, actualization and mobilization. Both modern information technologies, and above all the Internet, provide unprecedented opportunities for attracting and consolidating funds, resources and specialists.

The young St. Petersburg musician wrote a rock opera based on S. King's "Dead Zone". The libretto of the opera was ruled ... by S. King himself, which was only possible thanks to e-mail.

However, we are talking about attracting not only creative resources. Information about potential donors and grants these days is easily and simply collected via the Internet. The websites of granting funds and organizations (domestic and foreign) contain not only information about programs and deadlines for submitting applications, but the application forms themselves.

In other words, the Internet and e-mail make it possible to connect to the global system. Moreover, the opportunity for us to provide information to the global network ourselves opens up prospects for cooperation with us to everyone. In order to become interested in cooperation with them, it is necessary that they know about us. And if we do not declare ourselves, no one will know about us.

Regional Internet resources for cultural activities. As already noted, at present, cultural activity is increasingly acting not so much as a result, a consequence of socio-economic and political development, as an integral most important factor of this development, which has its own and considerable potential. Therefore, it is especially important to form organizational and economic conditions for the self-development of cultural life, the preservation and development of the cultural potential of society, the interaction of the cultural process with other areas of social activity and giving them a socially responsible and culturological character.

The effectiveness of the formation and implementation of cultural policy largely depends on the level of development of the information infrastructure of cultural activities. This infrastructure is an interconnected set of activities and mechanisms that ensure the pooling of efforts and resources of participants in the cultural process and the quality of their products and services. The information infrastructure of cultural activities contributes to the strengthening of interregional and international cooperation in the field of culture and art. As an instrument of cultural policy, it allows analyzing the contribution of the sphere of culture and art to social development, determining strategic priorities, coordinating and planning cultural activities, as well as implementing the promotion of the sphere of culture and art. Information support of the sphere of culture and art presupposes the achievement and maintenance of a high level of technical equipment and informatization of the main technological processes of cultural organizations, the creation of a single information space, accessible both to institutions and representatives of the sphere of culture and art, and to consumers of cultural products and services. In this regard, the effective use of electronic information resources, in particular the Internet, becomes one of the primary tasks of information services.

In this regard, the experience of St. Petersburg, which has a large-scale and ramified network of cultural and art institutions, is of undoubted interest. The city has more than 170 museums and 40 galleries, about 1270 libraries, more than 50 theaters, over 100 concert organizations and clubs. Of these, only 170 organizations are subordinate to the Committee on Culture, the rest have federal or regional affiliation and are public organizations.

Recently, cultural institutions are increasingly using the opportunities provided by the Internet for the development and promotion of their activities. Websites of museums, theaters, concert organizations, galleries, libraries are being created. By 2003, there were about 30 such sites, and this process is developing very rapidly. However, this work faces a number of problems:

The fragmentation of sites in terms of their level, both technical and content;

Content of sites and constant technical support require large organizational efforts and material costs, usually prohibitive for small museums, theaters, etc .;

Information support does not always meet modern requirements, information is often not updated;

Websites are created spontaneously, there are no documents regulating their creation. The information turns out to be scattered at various addresses, not systematized, so the search for the necessary information is difficult.

The creation of an information electronic network of library and museum institutions, the creation of a single theatrical site are important, but private breakthroughs.

The sphere of culture and art of St. Petersburg is presented on the Internet not as a single whole, but as a certain number of disparate, not interconnected elements. Thus, the task of creating an integrated and publicly available information space is not achieved, the efficiency of using Internet technologies to represent the culture of St. Petersburg at the interregional and international levels is reduced.In these conditions, it is urgently necessary to integrate all information resources of cultural institutions, regardless of departmental affiliation. Such integration will allow:

Increase the efficiency of Internet technology by individual cultural institutions;

Create a single information space for integrated and publicly available information;

Provide monitoring of the cultural life of the city;

Integrate information about the cultural life of the city into the interregional, federal and world information space.

To solve these problems, in 1999 the site-navigator "St. Petersburg: 1703-2003" (http://www.300.spb.ru) was created, which is run by the Institute of Cultural Programs in conjunction with ICSER ​​"Leontief Center". The reason for the creation of the site was the need information support preparations for the celebration of the 300th anniversary of the city in terms of reflecting the cultural environment against which all preparations for the anniversary took place. However, the possibilities and prospects of the site were much wider: the constant informing of the Russian and international community about the events of the cultural life of St. Petersburg ensured the activation of marketing and the promotion of the city in the international cultural and tourist markets, the strengthening of the targeted interest of the world community in the upcoming anniversary and the city as a whole. In addition, access to the information resources of the server "St. Petersburg: 1703-2003" contributed to the formation of a favorable image of the city and the strengthening of its international status.

The site included the following sections:

¨ official documents: decrees, orders, resolutions of the Salut-Petersburg Administration, grant competitions announced by the Committee for Culture);

¨ projects for the anniversary of various organizations;

¨ news of cultural life;

¨ maps: historical and modern;

¨ history: chronology major events for 300 years;

¨ culture: events of cultural life for a year, "Afisha" for the current month, a database of festivals in St. Petersburg;

¨ in the network: a navigator on the St. Petersburg Internet resources;

¨ interesting: live camera overlooking the Peter and Paul Fortress.

The information core of the site was a dynamically updated poster, in which theaters, cinemas and concert organizations, museums and libraries, galleries and cultural centers of the city and their events for the current month were presented. The city billboard in Russian and English served as a navigator, since it provided links to the pages of cultural institutions presented on the Internet. In addition to information for the month, the site provided promising information for the current and next year.

The website also contained a database of St. Petersburg festivals with the coordinates of the organizers, which allowed theater and concert organizations to establish contacts and offer their programs for participation in festivals and competitions. In the future, information on festivals could be expanded due to information on festivals in other regions, primarily in the north-west of Russia, which, undoubtedly, was of interest to theater managers. Thus, it was possible to create a navigation system for Russian festivals.

The site was very popular with Internet users. Russian users accounted for 32% of the number of requests. Among foreign users the largest number requests came from СIIIА (14%), CIS countries and Western Europe countries. The average monthly number of visits grew very intensively: 1999 - 4800; 2000 - 12500; 2001 - 16,000; 2002 - 24000.

The interest in the site was so high that in 2001, on the initiative of the City Government, a system of cross-linking of the site and a number of sites of the City Government was created. Almost immediately, the site began to attract the attention of advertisers and became commercially viable.

The uniqueness of the site's potential is such that its significance will not be lost after 2003. After completing the task of information support for the anniversary of the city, the site is able to combine information resources in the field of culture and art, present cultural and art institutions and the cultural process in general. According to its characteristics, the site will be able to assume the function of a connecting link in the infrastructure of cultural activities, become an information core that unites other elements, including professional communication, lifelong education, work with personnel, PR activities, and is the source of their development. The site can be used to support the formation and implementation of cultural policy aimed at strengthening the social role of the sphere of culture and art and increasing its contribution to the economic development of the city. It is a real and essential database for tour operators - both domestic and foreign.

New form cooperation for organizations of culture and art - the database "Festivals of St. Petersburg", which contains pages dedicated to city festivals, also provided with links to the sites of the organizers of the projects. The future of the site, the prospects for its development depend on how successfully it will be able to represent the cultural activities of St. Petersburg as a whole, reflect the work of state and non-state institutions and organizations of culture and art and ensure their presentation on the Internet through a system of links or the creation of individual pages. Another purpose of the site may be to unite cultural and information resources of the North-West region, to assist in strengthening interregional cooperation.

GOVERNMENT OF THE SPHERE OF CULTURE - TECHNOLOGIES OF EFFECTIVE DEVELOPMENT

UDC 351.858: 379.8 V. M. Chizhikov

The article deals with the problems associated with the management of the sphere of culture. Management technologies for social and cultural activities are considered as a resource for improving technological interaction and a specially organized management process.

Key words: control technologies, categories, control mechanisms.

Moscow State University of Culture and Arts

MANAGEMENT OF SPHERE OF THE CULTURE - TECHNOLOGIES OF EFFECTIVE DEVELOPMENT

In article the problems connected with management of the sphere of culture are considered. Technologies of management of welfare activity are considered as a resource of improvement of technological interaction and specially organized administrative process.

Keywords: management, technology, governance mechanisms.

The technologies of social and cultural activities have been deeply researched and scientifically described. The accumulated knowledge in this area is updated with theoretical and technological innovations. In the studies of technologies for managing socio-cultural activities, there is a great lag, despite their relevance. The technologies for managing the sphere of culture are conceptually saturated with the value meanings of social and cultural activities. Here, management becomes a regulator of social interaction and people's behavior. Socio-cultural activity as an area of ​​activity to involve people in socio-cultural activities, increase their cultural level is controlled by society and its

socio-cultural institutions, the subject field of which and management experience technologically develop socio-cultural processes.

Management technologies, as well as other technologies, contain the potential of a self-critical vision of ourselves (reflection), and due to this they are capable of interaction, establishing meaningful relationships with the technologies of socio-cultural activity, and never pretend to an absolute monopoly that exhausts the possibility of their experience ... They are prone to transposition into the languages ​​of other technologies, without which interaction is impossible. The technologies for managing the sphere of culture, thus, fulfill specific

1997-0803 BULLETIN MGUKI S (SS) September-October 2013 70-76

tasks and ensure interaction with other technologies on the principle of complementarity, forming the integrity of the entire technological process of socio-cultural activities. The interaction of different technologies is due to the fact that a person's personality is formed and developed as a result of the influence of numerous factors: objective and subjective, internal and external, independent and dependent on the will and consciousness of people.

The personal qualities of a person are related to each other, mutually conditioned, therefore, in the institution of culture, a person cannot be educated and developed separately "in parts", forming today morality, tomorrow, hard work, and the day after tomorrow, tolerance. Individual personality traits are formed in a complex manner. A.D. Zharkov quite reasonably asserts that the process of education and development in cultural institutions proceeds on the basis of "such fundamental processes as self-attitude, self-knowledge, self-regulation, which through reflection builds up a person's attitude not only to the external, but also to the inner world."

Participating in the cultural processes (programs) of cultural institutions, a person should not know what technologies he is “exposed to”. it is important for him that it be interesting, informative, useful, exciting, meeting with friends and acquaintances, the opportunity to culturally and usefully spend his leisure time. On this occasion, Simon Mundy in the book “Cultural Policy. The Brief Guide "said," A leader is like a gardener who knows perfectly well when to fertilize, what and where to plant, when to open the garden to the public. But when dealing with human culture, the garden cannot be controlled too much. As in any of the best farms of the late 18th century, the "cultural garden" should have not only austere terraces, but also wild thickets, and fences for delicate roses, and wide open spaces for large trees. Like the work of a gardener, the work of an administrator

A culture recorder would be ideal if no one could notice the hands preparing the soil. Our flowers can sprout on their own, but they will be pitiful, single bushes that have grown on poor soil. And soon they will cross the fence into the well-groomed and fertile garden of their neighbor ”[cit. by: 2].

Understanding the role and significance of socio-cultural technologies in the context of their interaction with each other gives grounds to transfer the resources for improving technological interaction into the status of a specially organized management process. Its mechanism is "launched" due to the creation of close ties between different technologies of the "technology - technology" type, which together unite the efforts and reserves of each project or program in line with the target task. At the same time, organized interaction is not an end in itself, but acts as a unifying content. effective solution tasks of involving the population in social and cultural activities.

Integration of the efforts of technologists of different profiles within the framework of one project, the program leads to a natural increase in the number of public, voluntary assistants, to an increase in new subjects at the expense of public formations, individual and group participants in technological processes. These include interdepartmental public organizations, creative groups of young people, children, parents, educational organizers participating in joint social and cultural activities.

The activities of volunteer public assistants are primarily associated with work on creative experimental sites, in creative workshops, project groups, temporary associations, problem groups, studios, "parks of culture", in the laboratory conditions of which program-target and design products are created.

At the same time, the role of technological

organizational activity, the effectiveness of which is determined by a set of conditions: administrative and legal, related to the legitimacy of areas of activity, organizational and functional, reflecting the nature of the preparation and implementation of socio-cultural projects and programs, socio-psychological, determining the degree of interest of participants, and technological, providing processes with modern electronic means of support of socio-cultural activities. The development of interaction also contributes to the systematization of the activities of creative teams, the development of projects and programs not only of an institutional, but also of an urban, district and even regional scale.

High-quality, unique technologies are created by competent specialists in different directions and profiles of activity. Without pleading for the importance of each profession, in the context of the material of this article, addressed primarily to leaders, organizers of cultural processes in the field and future managers of social and cultural activities studying in universities of culture and arts and other educational institutions, let us pay attention to the need to develop managerial resources in this profession. These problems are covered in more detail in the article "Monitoring the labor market of managerial personnel for the industry of culture and art" [see: 3].

The established attitude towards the cultural sphere as an area that does not require serious managerial and financial investments dominates not only in Russia, but is also typical for many European countries. Representatives of the authorities enjoy culture most often in their free time, and therefore it seems to them that cultural figures and those who lead them are not working, but having fun. Therefore, the problems associated with the activities of officials at different levels in the field of culture, today, in fact

not formulated, therefore, there is no necessary theoretical and empirical basis. What the heads of cultural bodies can and cannot do today, how this management stratum is developing, what are the main characteristics that distinguish these professionals from managers in other spheres - we have to figure it out for ourselves.

The dynamic process of embedding socio-cultural institutions into the system of market relations is an actualizing factor in the importance of technologies for managing the sphere of culture. Today, one can hardly expect a significant increase in the size of appropriations for culture from the state, and hopes for an increase in financial assistance from public funds are currently not always realistic.

Consequently, the main task is to solve the problem of finding and attracting its viewer to each cultural institution, and this forces us to treat the cultural product, service as market categories of purchase and sale, which obliges managers of the cultural sphere to study and know the laws of the market. As E. V. Novatorov emphasizes, “the existing theory of service marketing in the context of cultural institutions was developed by borrowing some concepts from the social sciences. The concepts of organization as an open system, motivation by self-interest, two-way voluntary exchange were borrowed from sociology, organizational behavior and anthropology. "

Consequently, we are talking about other approaches to working with the population, about systematic work with real and potential visitors, who have changed not only their socio-economic situation, but also an evolution of consciousness and behavior, and in an individual-personal relationship, the deficit of free time has really increased. ...

The last statement causes a lot of controversy: “according to the admission of numerous foreign researchers, today in socio-

logic, the very fact of the presence of "free time" remains not entirely obvious. " According to official figures, the amount of free time for the citizens of the country has not decreased, because the working day and working week remain unchanged. And if we add to this the reduction in working days (January and May "holidays"), then it really seems (superficial) that people have more free time.

However, a proactive all-Russian poll conducted, for example, in 2012 by the All-Russian Public Opinion Research Center (VTsIOM), showed that Russian citizens do not have enough free time. It turned out that only 36% of our fellow citizens have a lot of free time. In addition to the elderly survey participants, this group also included low-educated and low-income citizens. 39% of the respondents have free time, but they are not satisfied with the amount of it, and 23% of the respondents said that they have no leisure at all. Mainly, financially secure respondents and citizens aged 25 to 44, who live in large cities, complain about the complete lack of free time.

As for the quality of leisure, according to VTsIOM, 60% of respondents are satisfied with it, which is even more than in 2008, but 35% of respondents assess their free time as negative. Wealthy Russians (69%) and residents of large cities (66%) are satisfied with how they spend their free time. Most often low-income respondents (47%) and residents of the capital (40%) are dissatisfied with their leisure time.

Some forms of cultural leisure can be freely used by all citizens (watching TV, hobbies and hobbies at home, communicating with relatives and friends, participating in folk holidays, religious rituals). leisure preferences associated with additional

material resources, including literature, music, cinema, performances, concerts, the Internet, are reduced in varying proportions as the social status of a person decreases. At the same time, many forms of social and cultural activities for the poor part of the population, contrary to the assurances of the priority of cultural values ​​for each citizen, are of little interest, for example, recreational, developmental, educational forms of leisure.

This suggests that the content, the filling of a person's leisure with the value components of culture, elements of creativity are determined and depend on the inner cultural essence of the individual, life attitudes, cultural and value orientations that keep him in the space of meaningful leisure, determine a positive result in his personal development. The high cultural potential of an individual requires an adequate level of development of technologies of institutions and organizations (cinemas, clubs, museums, libraries, etc.), without the existence of which it is impossible to satisfy the cultural needs of a person. As you can see, in the problem field of technologies for managing modern socio-cultural activities, complex issues arise of using free time for cultural development in conditions of social stratification or social stratification of citizens into rich, well-to-do, well-to-do, poor and very poor.

Free time today seems to be the same problem for all the named categories, the subjective quality of free time for them is approximately the same, but the ideas regarding its use are different.

In the most prosperous part of it, since 1999, there has been a significant increase in materially costly leisure activities, including visiting cafes, bars, restaurants, elite concerts, cinema, and foreign exhibitions. This group of the population, as a rule, seeks to use freedoms.

some time for its development, prefers developing forms of recreation, and the other part of it is more inclined to use their free time for uncomplicated rest and for "pure" entertainment.

In the group of the country's low-income population, according to researchers, there is a sharp drop in interest in self-education, art, literature (almost 20%). Over 80% of poor intellectuals who love theater cannot afford to attend performances, up to 90% of those who love fine arts do not visit museums and exhibitions, and in the same ratio the share of poor lovers of modern and classical music who are deprived of the opportunity to go to concerts. At the same time, only a third of wealthy intellectuals who declare their love for these types of art, for one reason or another, do not attend theaters, concerts, museums and exhibitions.

Most activities in their free time, and even those that do not require financial costs, are less likely to be attracted by unsecured people. Their free time is less interesting, and they, in general, are not going to change this situation, moreover, they do not even express any particular dissatisfaction. Their free time is not just monotonous, it is not intellectual enough. Such people less often talk about hobbies, about literature and reading, self-development, communication, and pay more attention to shows, sports activities and proper rest.

Nevertheless, to the question: "What is your choice for an interesting free evening?" - the majority of the people surveyed, regardless of their financial situation, answered that they would "spend time with the guests." Consequently, “spending free time in an interesting way” for the population is, first of all, “live” communication.

As you can see, various strata of the country's population do not have equal opportunities to participate in the cultural life of their region, region.

If a person is passive, boring, cruel, if he has a one-sided mental dis-

twist, then pathological symptoms are noted in it, such as anxiety, depression, depersonalization, indifference to life and a tendency to negative manifestations; or if a person is in a situation of tension in life rhythms, feels a constant threat of changing his status, since there is a variety of forms of unemployment in society (partial, hidden, current, regional, etc.), all this generates a deviation from social norms, leads to social conformism. Therefore, many people perceive the forms of leisure available to them as forced, which turns into an acute feeling of boredom, longing, loneliness. Their sense of freedom of choice is sharply reduced. Failure to fulfill the interests and needs of people to participate in social and cultural activities leads to a situation that is defined by the new terms "leisure homelessness" and "leisure homelessness".

another trend in the development of leisure is associated with the complication and rise of its forms. It can be defined as the tendency of personality self-development, which is associated with the experience of the feeling that personal capabilities are expanding, as a result of which education and self-education, creativity, club activities begin to take an important place.

Based on this, it can be assumed that personal activity is important factor differentiation of financially wealthy and bankrupt people, and underestimation of the importance of free time for spiritual and intellectual development prevents people with low activity from successfully adapting to the real conditions of modern life.

Unfortunately, there are practically no studies of the structure of the audience of institutions in the socio-cultural sphere that reveal the financial situation and status of participants in the scientific literature and practice. Managers, organizers, technologists, creative specialists of social and cultural

activities should know the social portrait of the audience, the reasons and circumstances that lead to a visit to a cultural institution. Involvement in social and cultural activities of different social strata of society, including rich and wealthy people, will only benefit, and in improving the image of the cultural institution itself, and in replenishing its budget, and in gaining a new social group of regular visitors.

The managerial components of the technologies of socio-cultural activities are determined, first of all, by how effectively new categories of the population are involved in socio-cultural activities, in which new target mechanisms of sociocultural integration of modern Russian society are tested. The effectiveness of planning the prospects for the development of culture, the cultural potential of the population can increase if we take into account, first of all, the level and features of the development of the territorial-settlement potential of regions, cities, districts, specific settlements. Otherwise, the prospects for the development of culture in general give little for a real assessment of socio-cultural processes in the field.

The activity of a manager is always associated with the solution of various kinds of contradictions, many of which take the form of both intra-organizational and inter-organizational problems that have to be overcome. For example, the general reduction in government spending on non-profit sectors and the results of the splitting of funding affect not only the level of remuneration and social guarantees of cultural workers. They equally affect the cultural consumption expenditure of visitors.

The general vector of cultural management is the transfer of expenditures from public budgets (state, regional, municipal) to individual and family burdens. This is reflected in an overall increase in cinema ticket prices,

rates, in museums, theaters, reducing the list of privileged categories, as well as appeals to the population to support the functioning of the cultural institutions themselves.

the mission of cultural institutions and their business projects is a continuous choice between available opportunities and specific plans. The concept of the strategic development of each cultural institution must be compatible with the entrepreneurial direction of activity and cultural mission. "The project can be viewed as a plan, idea, concept and the actual process (technology) of their implementation to positively change the socio-cultural situation."

Strategic development and its alignment with the commercial sector tend to provide predictable funding for sociocultural activities. Business participation in culture starts small. From formal connections, from the usual human desire to help, but it leads to awareness and understanding not only of the importance of this activity, but also to the satisfaction of communicating with culture and art, the transformation of a businessman into a sophisticated connoisseur-patron who is interested in various forms of cultural and artistic activity.

The participation of business in supporting cultural institutions should always be predictable. Through culture, an entrepreneur paves an effective path to a consumer, creates a favorable image for himself, acquaints the population with his company and forms a favorable attitude towards its employees, gets access to high-quality entertainment, develops public relations, expands contacts.

It is important to find and build correct and effective relationships between the entire collective of a cultural institution with state authorities, regional and local elites, the business community, associations, foundations, the media and public institutions.

Effective management mechanisms, financial

nancing each type of institution It should not be considered that socio-cultural cultures are built on the foundation, which the activities taking place in the market system-make up the collective of the socio-culture of relations itself, fully focused on the tour institution. Therefore, the team is profitable. In their practical activities, cultural institutions are obliged to form socio-cultural institutions with their own "face", recognizable and not guided by market conditions, but their repeatability, which will be an advantage, the functional orientation is determined among competitors, and professionalism is, above all, cultural, educational competence will provide a favorable, educational, scientific, educationally inspired and emotional style for the community, charitable, spiritual, morality with the audience and the population. social purposes.

Notes (edit)

1. Zharkov AD Development of the reflective consciousness of youth in cultural institutions in the context of interpersonal communications // Bulletin of the Moscow State University of Culture and Arts. 2010. No. 2. S. 100-105.

2. Mandi S. Caution: reforms: lecture / Theater Center. Sun. Meyerhold. Access mode: sNpakpyo.gshsikigeLke / Pinsayo ^ (date of access: 23.10.2013)

3. Monitoring the labor market of management personnel for the industry of culture and art / N. A. Krotova, N. A., Slyadneva, V. M. Chizhikov, L. V. Ustyuzhanina // Bulletin of the Moscow State University of Culture and Arts. 2006. No. 1. S. 66-70.

4. Novatorov EV Concept of marketing services of cultural institutions // Bulletin of the Moscow State University of Culture and Arts. 2010. No. 6. P. 98.

5. Chizhikov VV Target program and design technologies for the management of social and cultural activities // Bulletin of the Moscow State University of Culture and Arts. 2013. No. 3. S. 209-214.

6. Yaroshenko NN Values ​​of leisure in the context of civilizational development // Bulletin of the Moscow State University of Culture and Arts. 2011. No. 6. S. 66-72.

7.UKB: S: P: //rwf.ui> pa1go1 / Poofer_3220 / 4436 ^ mx (date accessed: 23/10/2013)

8. URL: http: //www.ispr.ru/SOCOPROS/socopros705.html (date of access: 23.10.2013)

^ TECHNOLOGY CONCEPT

MANAGEMENT OF SOCIAL AND CULTURAL ACTIVITIES

UDC 351.858: 379.8 V. V. Chizhikov

Moskovsky State University culture and arts

The article defines the problem field for the implementation of technologies for the management of social and cultural activities, its main objects, methodological requirements and criteria for manufacturability of management; the typology of technologies for the management of social and cultural activities is given. It is noted that management technologies are organically included in the structure of gaming technologies, as well as in the structure of technologies for socio-cultural design.

Key words: socio-cultural activity, management, management technologies, methodological requirements, efficiency criteria, typology, game technologies, technologies of socio-cultural design.