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UDC 069.02:908+069.7+316.772.5+316.776.32 DO110.24147/2413-6182.2023.10(4)800-814
ISSN 2413-6182 elSSN 2658-4867
BLOGGING IN INTERNET PROJECTS AS INTRACULTURAL AND INTERCULTURAL DIALOGUE (CASE STUDY OF KRASNOYARSK CULTURAL ORGANISATIONS)
V.A. Razumovskaya1, T.V. Tarasenko2, Y.E. Valkova3
1 Siberian Federal University (Krasnoyarsk, Russia)
2 Reshetnev Siberian State University of Science and Technology (Krasnoyarsk, Russia)
3 Financial University under the Government of the Russian Federation (Moscow, Russia)
Abstract: The study deals with some key issues of museum blogging practice at present. The main formats and some peculiarities of several world's leading museums (mostly European and American ones) and regional museums of Krasnoyarsk (Russia) are considered. The research aims at identifying the challenges in regional blogging practice. These challenges relate both to the regional cultural context and museum blogging basics that were developed outside Russia and achieved good results. The study describes the existing quantitative and qualitative differences in blogging practices of three Krasnoyarsk museums. The analysis shows the obvious gap between the blogging practices of regional museums and successful foreign practices. The stated aim determined the main research approaches - descriptive and prescriptive, as well as the general and special methods of material observation and analysis. The dominant cultural processes of globalization and its obviously opposite and at the same time, complementary tendency to glocalization require interlanguage communication in the blo-gosphere of regional museums. Special attention is paid to discussing a popular type of Internet communication in regional museums within the interlingual and intercultural space, using culture-oriented English language and the corresponding basics of ethnic translation in blogging. It can be concluded that the success of museum communication with contemporary audiences in the blogs on various platforms depends on various factors: the type of the platform, its audience, the type of content, and its presentation.
Key words: museum communicative space, museum, Internet communication, "many-to-many" communication, blog, blogging, blogosphere, cultural information, interlingual dialogue.
For citation:
Razumovskaya, V.A., Tarasenko, T.V., Valkova, Y.E. (2023), Blogging in Internet projects as intracultural and intercultural dialogue (case study of Krasnoyarsk cultural organisations). Communication Studies (Russia), Vol. 10, no. 4, pp. 800814. DOI: 10.24147/2413-6182.2023.10(4).800-814.
© B.A. Pa3yMoecKan, T.B. TapaceHKO, W.E. BaAbKoea, 2023
About the authors:
1 Razumovskaya, Veronica Adolfovna, PhD, Professor of the Research-Academic
Laboratory of Behavioral Economics and Communications Development
ORCID: 0000-0002-0751-7964
2 Tarasenko, Tatyana Vasilyevna, PhD, Head of the Higher Qualification Personnel Training Department
ORCID: 0000-0003-4895-173X
3 Valkova, Yulia Evgenevna, PhD, Senior Lecturer of the Department of English
Language and Professional Communication
ORCID: 0000-0001-5231-4720 Corresponding authors:
1 Postal address: 79/10, Svobodnyi pr., Krasnoyarsk, 660041, Russia
2 Postal address: 31, im. gazety "Krasnoyarskii Rabochii" pr., Krasnoyarsk,
660037, Russia
3 Postal address: 49, Leningradskii pr., Moscow, 125993, Russia
1 E-mail: veronica_raz@hotmail.com
2 E-mail: tvt2004@mail.ru
3 E-mail: julyvalkova@gmail.com Received: January 9, 2023
Revised: February 11, 2023 Accepted: October 6, 2023
Introduction
In contrast to safeguarding their own valuable collections, as it has always been, now museums acquire new functions, particularly communicative one to foster the dialogue with not uniform audiences. Many museums have been forced to look for the ways to modernize themselves in order to increase their value among current and future visitors. Museums today exist in a highly competitive environment; they have to compete for their visitors in the leisure market and keep pace with cultural institutions that use new platforms to reach modern audiences. The entire cultural sector of the modern world is being digitized, with new media and digital technologies becoming an essential channel for theatres and cinemas, galleries and parks to involve visitors, who are becoming more demanding; in addition to a museum's core value of unique exhibits, they expect museums to provide a high level of consumer services. High competition, rapid development of digital technology, and steadily changing demands of visitors are forcing museums to modernize and adapt to the new market and to introduce actively new forms of digital communication.
Thus, the world's best museums today virtualize their collection, using new technologies in building communication in the exhibition space, greatly increasing their visitors' interest in receiving new information and the likelihood of visiting the museum again.
The object of the study is the analysis of museums' communication with their audience on the example of museum blogging. Our focus is the peculiarities of museum blogging as a way to organize communication and information activities of museums in the modern information space. The case of Krasnoyarsk City (Russia] museums is studied.
Methods
The present study employs general scientific research methods: observation, comparison and analysis. Some special methods have been used as well: (a] selection of empirical material (blogs) and their primary analysis; (b) monitoring of Internet resources; (c) qualitative analysis of texts, aimed at clarification and interpretation of the content of museum blogs; (d] comparative method, whose purpose is a descriptive analysis of museum posts. Interesting and valuable material for performed analysis was obtained by the questionnaire method. The hermeneutical approach to the information under study determined descriptive and prescriptive approaches to the considered material. The descriptive one is aimed at consideration of the existing blogging practices in Russia and abroad and prescriptive one - at improving the blogging techniques of regional museums in Russia (Krasnoyarsk] and bringing this popular type of communication into the interlanguage space.
Results
Blogging is understood as a form of Internet communication based on web diaries written by some users and their verbal interaction with other users - readers of Internet diary entries [Popov 2013: 3]; as a form of communication between museums and audiences in social media. Social media allow museums to build "many-to-many" communication [Drotner, Schr0der 2013]. In addition, blogging denotes a periodically updated feed of posts where notes (posts) are arranged in reverse chronological order and can be commented on by their readers [Bykov et al. 2010: 29].
The main peculiarity of museum blogging is the nature of the information conveyed, namely, information about the museum, its history, work, exhibits, their uniqueness; about museum staff and visitors. A blogger who writes a museum blog, publishes entries, photos or videos, remains anonymous to the audience, as a rule, this is a PR specialist or a museum employee. In terms of content, museum blogs can be considered "classic", i.e., those that provide texts, hyperlinks or images and may contain audios (podcasts).
In order to achieve the research aim, the following tasks need to be solved: (1) analyzing the specifics of museum blogging as a communication
interaction with the audience; (2] considering the experience of blogging in the world's leading museums; (3] analyzing specific blogs of the Krasnoyarsk museums, platforms of content placement and their types as a tool for communication; (4] prescribing the characteristics of Krasnoyarsk museums' blogging as a tool of communication with the potential foreign-language audience.
Modern society forms the space of new media, setting new cultural norms, defining the priorities of society, and shaping the human being of the 21st century. But despite the global changes to which the museum is subjected and the introduction of innovations, the museum still retains its basic functions, i.e., it preserves the classic tradition. In this regard, the self-definition of the museum and participants of museum communication should change. The functional space of museums shall expand, and a modern museum, due to its dominant ontological nature, should combine its traditionally characteristic mission with the evident possibilities of new media. Most modern museums in the world provide visitors with only elements of interactive communication through digital technologies directly in the museum itself, and partly use new media options to build communication with the audience. Such communication is haphazard and fragmented, and digital technologies are hardly seen as a full-fledged communication tool. Moreover, often the use of technology only harms a museum, making it look like a "digital park", in which visitors' attention is focused not on a museum, but on technology it uses. Nevertheless, competent communication with the help of digital marketing tools is supposed to attract new categories of visitors to museums and increase the museums' value among all interested audiences.
In modern society, a museum is an important social institution that performs several key functions at once. These functions, highlighted by the majority of museologists, are documenting and educational [Makarova 1989; Shlyak-htina, Fokin 2000]. Recently, researchers have singled out other key functions of a museum: communicative one, which implies satisfying spiritual needs of a person in communication with cultural heritage, as well as with other people, and representational function, derived from the abovementioned communicative function [Belyaeva, Ladygina 2018]. Today museum is considered not only as a social institution, but also as a special communicative space, which has a distinctive communicative field, formed by communicative possibilities of museum exposition [Agapova 2012]. The communicative space of a museum is a vast spatial and temporal context, its volumes are not only at a physical distance, but also at a temporal one. It has synchronous and diachronic characteristics, unlike the communication system, which exists here and now [Kryaz-hevskikh 2012: 65].
Two levels of museum communication can be distinguished: external and internal. The internal level of communication that takes place within the exhibition space, bounded by the museum building or complex, includes both the preparation of the museum space and communication with the visitor. The
external level determines the communication processes outside the walls of the museum and is characterized by the integration of the museum's information potential into the regional socio-cultural environment. The external level is not territorially limited and can expand indefinitely, introducing informative resources of the museum both in a particular society and in the global community [Kryazhevskikh 2012]. Researchers attribute different types of relations to the external level of communication: (1] hierarchical, extending the communication space of the museum with administrative dimension, enabling vertical communication; (2] partner, characterized by horizontal communication; (3] market, in which the museum, being a producer of goods and services, acts as both a subject and an object of the market; (4] informative, carried out through special communication channels, representing the museum. These include periodic museum publications, museum websites, and social media pages [Vasil'eva et al. 2018].
While the subject of communication is the museum, the object is the audience. Today, the audience of museums has undergone obvious changes, especially after the spring of 2020, the period of world lockdowns due to COVID-19. Sociologist L. Petrunina noted already a decade ago that it is impossible to accurately describe the contemporary visitor, because many people prefer to visit virtual exhibitions, which reflect only quantitative indicators [Petrunina 2011]. The share of virtual visitors has grown and overtaken the share of "real" visitors. Museum workers assume that virtual visitors are young people under 40. For example, the Tretyakov Gallery (Moscow], conducting an online survey of newsletter subscribers, found that the majority of subscribers are over 55 years old. Before that, museum staff had no idea who was reading their newsletters [Mikhailova et al. 2019]. Nowadays we can talk about rejuvenation of museums. At the same time, visitors want not dry knowledge, but also emotional release, interactivity, to get the information they are interested in on their own.
Let us refer to the international experience. The non-profit organizations, like the Japanese American Legacy Project Densho (Seattle, Washington] have extensively launched their blogs. Written by the Densho staff and guest authors, the blog tells about the history and legacy of the incarceration. Searchable by category (such as "popular culture," "activism," "oral history," "camp life," or "art"], the blog entries offer discussions on the cultural representations of the World War II incarceration in film, print media, television, various historical preservation works undertaken by artists, activists, and museums nationwide [Jin 2020].
In 2010s Grant Museum of Zoology (London] launched the QRator project. Digital screens (iPads] allowed visitors to join the conversation in the museum space. The iPads are located next to the exhibit cases and pose provocative questions about museums, life sciences and natural history. The use of QR codes and Twitter integration allowed visitors with smart phones to prolong
the conversations at home as all content was synced with the QRator website (http://www.qrator.org/]. The bespoke QRator software made the content creation and moderation relatively easy for the museum staff [Carnall, Ashby, Ross 2013].
In the study by Lazzeretti [Lazzaretti 2021], two various cases are investigated/ the J. Paul Getty Museum (Los Angeles] blog, characterized by full moderation, and the Victoria and Albert Museum (London] blog, partially moderated. Selected blog entries and related comment threads are analyzed through discourse analysis. Specific focus is placed on the rhetorical, lexical and interpersonal features deployed by museums. The level of engagement and dialogic interaction obtained across each platform is also evaluated in light of the presence of comments and their moderation. The analysis confirms that museums still prefer to contain knowledge within their walls in order to maintain their legitimacy, remaining entrenched in unidirectional modes of communication.
The article by R. Srinivasan et al. presents an exploratory study of "Blob-gects," an experimental interface for an online museum catalog that enables social tagging and blogging activity around a set of cultural heritage objects of anthropology and archaeology [Srinivasan et al. 2009]. This study attempts to understand not just whether social tagging and commenting about these objects is useful but rather whose tags and voices matter in presenting different "expert" perspectives around digital museum objects. Based on an empirical comparison between two different user groups (Canadian Inuit high-school students and Museum Studies students in the United States], they found that adding the ability to tag and comment to a museum's catalog does not sufficiently allow users to learn about or engage with the objects represented by catalog entries. Some form of contextualization is needed for users to make sense of what an object is and how it is useful or meaningful. The evident expectation of images is telling here not simply for the user to visualize the object, as is often assumed, but because images allow the user to both contextual-ize the classifications and expert accounts offered by the museum and provide a means to make the object meaningful through their own expertise and understandings of the physical world.
The Phillips Collection (Washington DC], a small museum of modern and contemporary art, desired to share its reputation as a welcoming and comfortable environment with remote audiences by launching in 2012 a grassroots-style blog. The blog helps the museum achieve strategic priorities and provides a forum in which voices from a variety of experience levels can talk about art, blurring the line between expert and novice perspectives. The Phillip's Collection's blog Experiment Station serves as both a daily newsletter and as an archive of public and behind-the-scenes activities of this museum. Blogging has captured fleeting moments, inspired public programs, engaged partners outside of the museum, shone a spotlight on the founders, and influenced institutional design. It has also served as a sandbox for finding ways to combine the
voice of the expert with the voice of the novice, thereby providing new intellectual pathways to the collection and exhibitions. Its success reflects a workplace that rewards initiative and creative thinking and helps move the institution forward in its strategic goals using twenty-first-century skills and Web 2.0 strategies [Bender 2014: 69-70].
Blogging can provide a highly estimated educational potential. At Colonial Williamsburg (Williamsburg, Virginia), a living-history museum and private foundation presenting a part of the historic district in Williamsburg, visitors of the site can read blogs by historic tradespeople about their work recreating eighteenth-century technologies. These blogs remind students of how closely historical investigation integrates and intersects with other content areas. A blog on the project to cast a bronze cannon barrel is more than just an investigation of history. It is a great example of how researchers employ science and mathematics to discover something about the past. The architectural historians, archaeologists, and tradespeople who recently completed reconstruction of the Coffee House provided regular updates at http://research.history.org/Coffeehouse/Blog/ and had a webcam monitor their progress [White 2011: 39].
The comparative analysis of foreign blogging experience reveals undoubted popularity of such kind of communicative practice aimed at providing effective interaction with museums' audience. Having various discourse, topical and technical differences the leading world museums use variations of blogging techniques for maintaining the ongoing dialogue between cultural institutions and its offline and online visitors belonging to different age groups. The relatively short history of museum blogging has accumulated useful practical experience and theoretical conclusions that can be disseminated in other countries of the world and, in particular, in regional museums in Russia.
Discussion
The regional material under study includes blogs of three leading museums in the Krasnoyarsk City: (1) the Krasnoyarsk Regional Museum of Local Lore, (2) the Museum Centre "Peace/Mira Square" and (3) the Krasnoyarsk Museum of Art named after V.I. Surikov as a means of communication with the audience whose activity in the blogosphere is disproportionate. To find out which of the three museums the young audience considers "their own", a questionnaire survey was conducted. Sixty-one respondents aged 18 to 24 took part in the survey, of whom 80.3% were young people aged 21 to 24, while 19.7% -aged 18-20. The respondents were then asked the question: "Which of the following museums do you consider to be the most 'youthful', modern?" The answers to this question show that the majority of respondents (83.6%) consider the Museum "Peace/Mira Square" to be the most "youthful". The Krasnoyarsk Art Museum was favored by 4.9%, while only 3.3% voted for the Krasnoyarsk Regional Museum of Local Lore, while 8.2% had difficulty answering this ques-
tion. Unlike the Museum Centre "Peace/Mira Square", the image of the Krasnoyarsk Regional Museum of Local Lore as a site for the youth has not been formed; it is perceived by young people as a museum of the past, a typical local history museum, as answered by 83.6% of the respondents.
The following were chosen as the main criteria for content comparison: (1] original character of posts, (2] interactivity, (3] types of content (entertainment, educational content], (4] announcements (information about upcoming events, expositions, etc.] and (5] types of publications. For the analysis we chose museum posts and materials posted on the social networks VKon-takte and Instagram1, the service for creating and watching short videos Tik-Tok from April 1 to June 11, 2021. All three museums are also present on such platforms as YouTube and Facebook, but the content published there is duplicated on other platforms: for example, videos posted by the Krasnoyarsk Regional Museum of Local Lore on YouTube are presented on both VKontakte and Facebook. A total of 441 posts were analyzed, 218 of which were written by the Krasnoyarsk Regional Museum of Local Lore, 85 - by the Museum Centre "Peace/Mira Square" and 138 - by the Krasnoyarsk Art Museum named after V.I. Surikov (Tables 1, 2 and 3].
Table 1
Krasnoyarsk Museums' VKontakte Posts
The Krasnoyarsk Regional The Museum Centre The Krasnoyarsk Art Museum named after V.I. Surikov
Types of posts Museum of Local Lore "Peace/Mira Square"
Number of Number Number Number Number Number
posts of Likes of posts of likes of posts of likes
News, articles 76 2 039 46 2 303 102 1 360
Polls 3 46 3 32 22 233
Video 10 310 10 224 1 16
Interactive 10 220 6 295 5 97
Exhibits 0 0 13 607 8 101
Total 99 2 615 78 3 461 138 1 807
Table 2
Krasnoyarsk Museums' Instagram Posts
Types of posts The Krasnoyarsk Regional Museum of Local Lore The Museum Centre "Peace/Mira Square" The Krasnoyarsk Art Museum named after V.I. Surikov
Number Number Number Number Number Number
of posts of likes of posts of likes of posts of likes
News, articles 33 2 331 4 1 250 96 7 157
Polls 1 132 0 0 21 1 518
1 Facebook and Instagram have been blocked in Russia since March 21, 2022 as belonging to the Meta Corporation, whose activities have been recognized as extremist in Russia and banned in the Russian Federation. So the collection of data from some of the budget institutions which immediately started to obey the ban was limited.
The end of Table 2
The Krasnoyarsk Regional The Museum Centre The Krasnoyarsk Art Museum named after V.I. Surikov
Types of posts Museum of Local Lore "Peace/Mira Square"
Number Number Number Number Number Number
of posts of likes of posts of likes of posts of likes
Video (number of views) 0 0 0 0 2 2 809
Interactive 3 264 0 0 4 734
Exhibits 24 2 094 3 674 11 1 269
Total 61 4 821 7 1 924 134 10 678
Table 3
TikTok posts of the Krasnoyarsk Regional Museum of Local Lore
Types of posts Number of posts Views
News, articles 0 0
Polls 0 0
Video 35 11 930
Interactive 0 0
Exhibits 23 7 587
Total 58 19 517
The main platform for blogging in the museum communication was the social network VKontakte (Table 1): the largest number of posts of all three Krasnoyarsk museums was published there. It has the greatest feedback from users, which is indicated by comments and likes from the Museum Centre "Peace/Mira Square" (3461). This is due to the following: VKontakte is currently the most popular for dialogue with users of different ages, unlike YouTube, Instagram, Tik-Tok and Telegram, which attract more young users. These platforms that are most often used as the main ones in communication campaigns for young people, while the social network VKontakte is assigned the role of a secondary communication channel. The Krasnoyarsk Art Museum named after V.I. Surikov is more active on Instagram, where user engagement in communication is higher than on VKontakte. Let us compare the absolutely identical in terms of their content and visual content posts of the Krasnoyarsk Art Museum named after V.I. Surikov on June 4, 2021 on VKontakte and Instagram (https://www.instagram.com/p/CPsv15hp5HT/), the former getting 7 likes, the latter - 197.
Another identified feature of museum communication during the study was the presentation of information: the most popular and effective in terms of feedback was the content accompanied by captions with elements of conversational style, informal address to the audience. For example, the June 5 post on Instagram of the Museum Centre "Peace/Mira Square": "Delicately as kittens with paws we open our XIV Krasnoyarsk Museum Biennale "Mirror Neurons". Admission will be free, soft opening format"
(https://www.instagram.com/museum_centre_krsk/], etc. This type of content presentation is obviously the most acceptable for modern young audience, and meets its expectations, which is proved by the audience response, this post collected 291 likes. On the other hand, along with gamification such posts are an illustration of museum perceptions of its virtual visitor [Elrouby, Kasrawy 2019].
The formal presentation of the content corresponds to official communication, which is not from this point of view the optimal method of offering information to the audience on social media. The post on the Instagram account of the Krasnoyarsk Regional Museum of Local Lore about the guided tours in June 2021 got 19 likes (https://www.instagram.com/kkkm_official/]. The last example shows that the presentation of information (accompanied by a poster image] in the Krasnoyarsk Regional Museum of Local Lore is official and traditional. The announcement of the upcoming event at the Museum Cen-tre"Peace/Mira Square" is a colorful photo of the museum together with a banner, a kind of eye-stopper.
Users in blogs and social networks observe other people's lives and read their stories, which evoke emotions. Accordingly, users expect the same from the museum posts. But 40% of the museum Instagram posts are about exhibits - tangible objects which evoke the ephemeral emotions. Among the publications on Instagram of the Krasnoyarsk Regional Museum of Local Lore there are posts devoted to the internal, backroom life of the museum, but they cannot impress anyone by the diversity of the text part, which are monotonous, large in size - long reads. The posts are accompanied by photos from the workplace of the museum staff. This type of posts is more characteristic of VKontakte. At the Museum Centre "Peace/Mira Square", similar content is published in the format of stories, and the feedback is in response to the stories. Such stories about museum life on Instagram are often accompanied by captions of a humorous nature.
All museums publish a variety of content on social networks, although the Krasnoyarsk Regional Museum of Local Lore has more different approaches to the general audience, unlike other museums, it posts entertaining video content in TikTok (Table 3]. Videos about the exhibits are accompanied by humorous commentary and music, popular with children and school audiences. In addition, the TikTok videos for highlighting the inner life of a museum can, in our view, be considered the ideal format, combining visual information with amusing content. This is justified by the number of views.
The analysis of the post types (Tables 4, 5 and 6] has shown that the most popular among the audience, including the young ones, is entertainment and educational content. This is exemplified by the #WhattoWatch Instagram blog of the Krasnoyarsk Art Museum named after V.I. Surikov, which offers a selection of fascinating and informative films, for example, about the art world and its representatives.
Table 4
Krasnoyarsk Museums' VKontakte Posts Formats
The Krasnoyarsk Regional The Museum Centre The Krasnoyarsk Art Museum named after V.I. Surikov
Types of formats Museum of Local Lore "Peace/Mira Square"
Number Number Number Number Number Number
of posts of likes of posts of likes of posts of likes
Unique 2 40 2 70 36 499
Interactive 13 266 9 327 8 139
Entertainment 11 637 27 1 738 5 87
Educational 12 361 12 316 16 209
Announcements 61 1 311 28 1 010 73 873
Table 5
Krasnoyarsk Museums' Instagram Posts Formats
The Krasnoyarsk Regional The Museum Centre The Krasnoyarsk Art Museum named after V.I. Surikov
Types of formats Museum of Local Lore "Peace/Mira Square"
Number Number Number Number Number Number
of posts of likes of posts of likes of posts of likes
Unique 0 0 1 137 41 2 716
Interactive 4 396 0 0 7 1 134
Entertainment 7 585 1 335 5 772
Educational 24 2 219 2 537 18 1 915
Announcements 26 1 621 3 915 73 4 141
Table 6
The Krasnoyarsk Regional Museum of Local Lore TikTok Video Formats
Types of formats Number of posts Views
Unique 0 0
Interactive 0 0
Entertainment 36 12 937
Educational 19 6 045
Announcements 3 535
Finally, one more extremely important aspect of Krasnoyarsk museums' blogs should be mentioned - the language form of the blogs. The abovemen-tioned two levels of museum communication (external and internal] are carried out in the vast majority of cases in the Russian language. In the Krasnoyarsk museums under consideration, there are only fragmentary texts with important cultural information, advertisements and navigations in English. The increasing number of foreign visitors, stable interest in the unique cultures of the indigenous peoples of Siberia, the rich cultural heritage and history of the multinational territory of modern Russia and impact of globalization and glo-calization processes provide the necessity of using at least bilingual blogging -in Russian (the Russian Federation state language] and English (the most
common language of intercultural communication - the modern lingua franca]. Following the ideas of V.V. Kabakchi a foreign language should be oriented towards its external culture, in this case - Russian-culture oriented English [Be-loglazova, Kabakchi 2020]. In the framework of contact linguistics, the resulting English can be defined as another variety in the family of World Englishes. The oral and written texts in Russian already used by museum bloggers need to be translated into English, which can be carried out within the framework of both general and special translation theories, as well as developing Ethnic Translation Studies [Razumovskaya 2021].
Conclusion
The museums should address to online communities to engage potential visitors and create a virtuous circle between virtual and physical visits. When they are used creatively, online communities can also serve as visitors' study tools by enabling them to participate in cultural debates and construct personal and meaningful learning experiences [Liu 2008]. On the blog, the interaction can be fruitful for both "art expert" and novice who would not have communicated had it not been for the online ease.
Museums are, by definition, an experience with primary sources: historic structures and landscapes, artifacts on exhibit, and in historical settings, graphic images on display, and primary source texts and manuscripts to study. A museum visit is a wonderful opportunity for visitors to explore primary sources and hone analytical skills. The advent of museum blogs has contributed to making the process through which these institutions create, handle, and exchange knowledge more transparent. However, museums do not adequately respond to comments in social media but continue to employ blogs in more-or-less the same way they have used traditional media, disseminating institutional messages and broadcasting general information about the museum.
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БЛОГИНГ В ИНТЕРНЕТ-ПРОЕКТАХ КАК ВНУТРИКУЛЬТУРНЫЙ И МЕЖКУЛЬТУРНЫЙ ДИАЛОГ (КЕЙС ОРГАНИЗАЦИЙ КУЛЬТУРЫ КРАСНОЯРСКА)
В.А. Разумовская1, Т.В. Тарасенко2, Ю.Е. Валькова3
1 Сибирский федеральный университет (Красноярск, Россия) 2 Сибирский государственный университет науки и технологии им. академика М. Ф. Решетнева (Красноярск, Россия) 3 Финансовый университет при Правительстве Российской Федерации
(Москва, Россия)
Аннотация: Объектом исследования в данной работе являются блоги красноярских музеев: Красноярского краевого краеведческого музея, Музейного центра «Площадь Мира» и Красноярского художественного музея им. В.И. Сурикова - в качестве средства коммуникации с аудиторией. Цель настоящего исследования - выявление особенностей музейного блогинга как способа коммуникации с аудиторией. Задачи: 1) анализ специфики музейного блогинга как коммуникационного взаимодействия с аудиторией; 2) изучение опыта блогинга ведущих мировых музеев; 3) разбор конкретных блогов красноярских музеев, платформы размещения контента и его типы как инструмента общения с аудиторией; 4) исследование блогинга красноярских музеев как инструмента коммуникации с иноязычной аудиторией. В качестве материала исследования отобраны блоги трех ведущих красноярских музеев, активность которых в блогосфере неравномерна. Общенаучные методы исследования: наблюдение, сравнение, анализ. Специальные методы: а) отбор эмпирического материала исследования (блогов) и их первичный анализ; б) мониторинг интернет-ресурсов; в) качественный анализ текстов, направленный на уточнение и интерпретацию контента музейных блогов; г) сравнительный метод, целью которого явился сопоставительно-дескриптивный анализ различных аспектов музейных постов. Анализ музейного блогинга показал, что у краеведческого музея есть преимущество в коммуникации с аудиторией, в том числе молодой, - это развлекательный видеоконтент в TikTok. Блог следует считать сферой коммуникации, а именно местом виртуального взаимодействия аудитории и музея. В результате исследования сделан вывод: успешность музейной коммуникации с современной аудиторией в блогах на различных платформах зависит от различных факторов (характер платформы, ее аудитория, тип контента, его подача).
Ключевые слова: музейное коммуникативное пространство, музей, интернет-коммуникации, «многие-ко-многим» общение, блог, блогинг, блогосфера, культурная информация, межъязыковой диалог.
Для цитирования:
Разумовская В.А., Тарасенко Т.В., Валькова Ю.Е. Блогинг в интернет-проектах как внутрикультурный и межкультурный диалог (кейс организаций культуры Красноярска) // Коммуникативные исследования. 2023. Т. 10. № 4. С. 800814. DOI: 10.24147/2413-6182.2023.10(4).800-814. (На англ. яз.).
Сведения об авторах:
1 Разумовская Вероника Адольфовна, кандидат филологических наук, доцент, профессор научно-учетной лаборатории поведенческой экономики и развития коммуникации
ORCID: 0000-0002-0751-7964
2 Тарасенко Татьяна Васильевна, кандидат филологических наук, доцент, начальник Отдела подготовки кадров высшей квалификации
ORCID: 0000-0003-4895-173X
3 Валькова Юлия Евгеньевна, кандидат филологических наук, старший преподаватель Департамента английского языка и профессиональной коммуникации
ORCID: 0000-0001-5231-4720 Контактная информация:
1 Почтовый адрес: 660041, Россия, Красноярск, Свободный пр., 79/10
2 Почтовый адрес: 660037, Россия, Красноярск, пр. им. газеты
«Красноярский Рабочий», 31
3 Почтовый адрес: 125993, Россия, Москва, Ленинградский пр., 49
1 E-mail: veronica_raz@hotmail.com
2 E-mail: tvt2004@mail.ru
3 E-mail: julyvalkova@gmail.com Дата поступления статьи: 09.01.2023 Дата рецензирования: 11.02.2023 Дата принятия в печать: 06.10.2023
