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A recent article in an online website reveals how the former central bank governor had journalists and commentators on his payroll.

In media, static political media cartoons systematically began to appear in the first half of the 19th century. In the next century, it vividly showed itself in sound media works, into which it entered indirectly through the genre of art parody of literary, musical, cinematic or media sources. To understand the sound parody-with-caricatures, the authors noted the importance of the system of acquired semantic meanings formed by the viewer, primarily related to films and other popular genres. Among the significant Russian-language samples of the political sound media cartoons, the issues of the Russian TV-program Kukli (Puppets) and the German Internet project Zapovednik (Restricted Area with Special Legal Status) were separately analyzed. Zapovednik discovered a new milestone in the development of media genre in the XXI century. Using its issues, the functioning of music and other sounds was briefly reviewed in relation to the moving media cartoons and the parody scene in general. The authors of the study drew particular attention to the multi-level principle of the building a parody-with-caricatures.http://mediamusic-journal.com/Issues/10_6.html

In the last thirty years we witnessed to a number of relevant innovations and changes. Some of them belong to the information technology domain and parts of them were the reason why the IT domain became the ICT domain. In order to better understand problems and issues related to education and learning it is useful to outline some of the most relevant achievements and milestones in the technological domain. If we focus on the European approach to the spread of information technology termed in the '90ies "Information Society" we can find initiatives such as i2015 the EU policy framework for the information society and media for the 1 next decade and, at global level, the WSIS+10 a ten years activity aimed to draw the guidelines for an harmonious and fruitful development of the information society. It promotes the positive contribution that information and communication technologies can make to the economy, society and personal quality of life. Everyone experienced in "ICT based innovation" knows that "It is not only a matter of technology". Of course technology advances are one of the potential actors as in the case of the diffusion of personal computing or easy access to digital networking. Anyway different parameters are actively influencing e-Services success or failure: cultural aspects, organisational issues, bureaucracy and workflow, infrastructure and technology in general, user's habits, literacy, capacity, market models, interaction design or merely mind-set! Before looking in detail how all these aspects are impacting on education and learning let's take into account some additional relevant aspects.

The music-compositional principles of commercial and political advertising and also the self-promotion of electronic media (radio, television, Internet) are considered in this mediatext: from the elementary beeps, symbolic functions, emblems/logos and musical brands to the sound engineering technology to underscore the product's name and the complex synthesis between music and intra movements and color-light design of frames. Simultaneously examines, how the musical arrangement of ethereal advertising is involved in creation the emotional drama or bravado which reach the level of explicit or associative counterpoint 'music with the advertised object or subject' and which extend to expression of cultural image of all the broadcast channel. The article explores the works of the next genres like infomercial, teleshopping, film-ad, and autonomous commercials that have been produced in European countries or USA.http://mediamusic-journal.com/Issues/4_1.html

This article outlines the key propositions and further prospects of the media event theory established by Daniel Dayan and Elihu Katz in their 1992 book Media Events: The Live Broadcasting of History. The ritual approach they suggested, according to which media events are understood as large-scale televised performances meant to integrate society, has received a variety of alternative interpretations. The critique of media events' ceremonial model mainly follows three directions: (1) the restrictions of the neo-Durkheimian paradigm, which emphasizes the consensual nature of media events; (2) the narrowness of the initial definition of media events' genre and its three scenarios ("conquests", "contests", "coronations"); (3) consideration of media events as televised phenomena only, without taking into account other types of media and their interaction. This article shows that one of the possible extensions of Dayan and Katz's theory can be to develop the concept of transformative media events, which are understood as mediatized social dramas framing the renewal of the social order or its basic institutions. Special attention is paid to methodological difficulties involved in identifying the criteria of transformative media events. For instance, the matter of whether events which have not led to significant social changes (such as failed protest actions) can be considered transformative; whether the event's "vector" (progressive or regressive) should be taken into account; which levels and segments of social life allow for the emergence of phenomena which can qualify as transformative media events — all of these questions remain open. The article emphasizes that these conceptual difficulties are connected to the more fundamental problem of distinguishing between media events and non-media-events in the digital era. The conclusion contains some thoughts as to why the discussion about "the end of media events" is still far from over.

The article deals with the description of the nominative field of one of the most significant concepts for the modern political communication - the concept "maydan" - in Russian mass media, most readily responding to the change in the life of society and to a great extent determining new phenomena in the national political conceptoshere. As long as the concept "maydan" is relatively new, and its conceptual structure is in the making, the nominative field of the concept is viewed in its dynamics, which makes it possible to follow the evolution of the political concept. ; Статья посвящена описанию номинативного поля одного из значимых для современной политической коммуникации концепта "майдан" в российских массмедиа.

The article raises the problem of interpretation of political media events, the solution of which specifies the degree of the influence on the mass consciousness of native speakers. The article carries out a comparative analysis of models of interpretation of political media events in professional and everyday media discourse. The comparative analysis of media event interpretation in a media text and in an everyday text will help reveal their common and distinct features and the determinability of everyday interpretation by the information field of the media event. The study is performed on the border-line between political linguistics, media linguistics and interpretive linguistics. The interpretation model is considered as an invariant scenario of development of the media event in discourse, in which case discourse is defined as a polytext formation represented by a set of texts devoted to the same event. The political media event "Crash of the Ukrainian Boeing in Tehran" is chosen as a unit of analysis. ; В статье ставится проблема интерпретации политического медиасобытия, решение которой уточняет степень влияния СМИ на массовое сознание. В качестве единицы анализа рассматривается политическое медиасобытие "Крушение украинского Boeing в Тегеране" в 2020 г.

Introduction. The paper presents a cultural analysis of the main models of media city: technological, economic and socio-cultural, revealing its function as a stable socio-cultural system and focused on the aspects of the dominant culture. Particular attention is paid to the sociocultural model of a media city, which is most important for constructing a cultural theory of a media city.Methodology and sources. Methodologically, the work is based on a culturalphilosophical analysis of the projects of futurologists, forecasters, designers, set out in cultural texts (articles, architectural projects, urban plans, etc.), cases of introducing media technologies into the urban environment and research literature.Results and discussion. The model of "media city" at the present stage is actively used by developers, governments, corporations in various variations and is fixed in the mass consciousness as a cultural form that associates development, success and prosperity with the use of media technologies in everyday urban life. All projects of a media city contain, to one degree or another, a description of its three main models – technological (based on the belief that media technologies can solve the most complex problems of the urban environment), economic (offering new economic models and solutions based on the analysis of the most diverse, as a rule, big data) and sociocultural (considering media technology as a key factor in improving the quality of life). Thus, the result of the study is the cultural-philosophical specificity of each of the models of the media city.Conclusion. The sociocultural model of a media city forms a new cultural and anthropological basis for a new urban culture – a culture based on the use of network media devices in everyday practices that affect almost every aspect of the life of a city dweller, and, first of all, his cultural communications and transactions, which comprise the cultural experience of an individual or what we call culture. ; Введение. В статье представлен культурологический анализ основных моделей медиагорода: технологической, экономической и социокультурной, раскрывающих его функционирование как устойчивой социокультурной системы и сфокусированных на доминирующих аспектах культуры. Особое внимание уделено социокультурной модели медиагорода, которая имеет наиболее важное значение для построения культурологической теории медиагорода. Методология и источники. Методологически работа базируется на культурфилософском анализе проектов футурологов, прогнозистов, проектировщиков, изложенных в культурных текстах (статьях, архитектурных проектах, градостроительных планах и т. д.), кейсах внедрения медиатехнологий в городскую среду и исследовательской литературы. Результаты и обсуждение. Модель медиагорода на современном этапе активно используется девелоперами, правительствами, корпорациями в различных вариациях и закрепляется в массовом сознании как культурная форма, ассоциирующая развитие, успех и процветание с использованием медиатехнологий в повседневной городской жизни. Все проекты медиагорода содержат в той или иной степени описание его трех основных моделей – технологической (основанной на убеждении, что медиатехнологии могут решить самые сложные проблемы городской среды), экономической (предлагающей новые экономические модели и решения, основанные на анализе самых разных, как правило, больших данных) и социокультурной (рассматривающей медиатехнологии как ключевой фактор улучшения качества жизни). Таким образом, результатом исследования является культурфилософская специфика каждой из моделей медиагорода. Заключение. Социокультурная модель медиагорода формирует новую культурноантропологическую базу для новой городской культуры – культуры, основанной на использовании сетевых медиаустройств в повседневных практиках, затрагивающих практически каждый аспект жизни горожанина, и в первую очередь его культурные коммуникации и транзакции, которые и составляют культурный опыт личности или то, что мы и называем культурой.

Introduction. The paper presents a cultural analysis of the main models of media city: technological, economic and socio-cultural, revealing its function as a stable socio-cultural system and focused on the aspects of the dominant culture. Particular attention is paid to the sociocultural model of a media city, which is most important for constructing a cultural theory of a media city.Methodology and sources. Methodologically, the work is based on a culturalphilosophical analysis of the projects of futurologists, forecasters, designers, set out in cultural texts (articles, architectural projects, urban plans, etc.), cases of introducing media technologies into the urban environment and research literature (A. A. Pilipenko, I. G. Yakovenko, R. Silverstone, S. Mcquire, M. Castells, A. de Jong, M. Schuilenburg).Results and discussion. The model of "media city" at the present stage is actively used by developers, governments, corporations in various variations and is fixed in the mass consciousness as a cultural form that associates development, success and prosperity with the use of media technologies in everyday urban life. All projects of a media city contain, to one degree or another, a description of its three main models – technological (based on the belief that media technologies can solve the most complex problems of the urban environment), economic (offering new economic models and solutions based on the analysis of the most diverse, as a rule, big data) and sociocultural (considering media technology as a key factor in improving the quality of life). Thus, the result of the study is the cultural-philosophical specificity of each of the models of the media city.Conclusion. The sociocultural model of a media city forms a new cultural and anthropological basis for a new urban culture – a culture based on the use of network media devices in everyday practices that affect almost every aspect of the life of a city dweller, and, first of all, his cultural communications and transactions, which comprise the cultural experience of an individual or what we call culture. ; Введение. В статье представлен культурологический анализ основных моделей медиагорода: технологической, экономической и социокультурной, раскрывающих его функционирование как устойчивой социокультурной системы и сфокусированных на доминирующих аспектах культуры. Особое внимание уделено социокультурной модели медиагорода, которая имеет наиболее важное значение для построения культурологической теории медиагорода.Методология и источники. Методологически работа базируется на культурфилософском анализе проектов футурологов, прогнозистов, проектировщиков, изложенных в культурных текстах (статьях, архитектурных проектах, градостроительных планах и т. д.), кейсах внедрения медиатехнологий в городскую среду и исследовательской литературы (А. А. Пилипенко, И. Г. Яковенко, Р. Сильверстоун, С. Маккуайр, М. Кастельс, А. де Йон, М. Шуленбург).Результаты и обсуждение. Модель медиагорода на современном этапе активно используется девелоперами, правительствами, корпорациями в различных вариациях и закрепляется в массовом сознании как культурная форма, ассоциирующая развитие, успех и процветание с использованием медиатехнологий в повседневной городской жизни. Все проекты медиагорода содержат в той или иной степени описание его трех основных моделей – технологической (основанной на убеждении, что медиатехнологии могут решить самые сложные проблемы городской среды), экономической (предлагающей новые экономические модели и решения, основанные на анализе самых разных, как правило, больших данных) и социокультурной (рассматривающей медиатехнологии как ключевой фактор улучшения качества жизни). Таким образом, результатом исследования является культурфилософская специфика каждой из моделей медиагорода.Заключение. Социокультурная модель медиагорода формирует новую культурноантропологическую базу для новой городской культуры – культуры, основанной на использовании сетевых медиаустройств в повседневных практиках, затрагивающих практически каждый аспект жизни горожанина, и в первую очередь его культурные коммуникации и транзакции, которые и составляют культурный опыт личности или то, что мы и называем культурой.