CC BY
6characteristics of the functioning of the regional innovation sub-system on the stage of knowledge generation. It it is known to be not the only possible result of the research activities.
TABLE 2
ASSESSES OF DEVELOPMENT LEVEL
Region Input conditions of the innovative process Process of knowledge generation Process of knowledge transformation in technologies and means of production Process of innovative production Innovative process Level of innovation development
2010 2011 2010 2011 2010 2011 2010 2011 2010 2011 2010 2011
The Republic of Bashkortostan 0,557 0,572 0.103 0.107 0.152 0.174 0,273 0,246 0,176 0,175 0.274 0,276
The Republic of Mari El 0,541 0,547 0,166 0.186 0.026 0,019 0,169 0,164 0,120 0.123 0.186 0.191
The Republic of Mordovia 0,497 0,514 0.072 0.089 0.085 0,113 0.628 0,381 0.120 0.194 0.392 0,294
The Republic of Tatarsten 0,571 0,600 0.087 0.090 0.205 0,224 0,548 0.402 0.280 0,239 0.440 0.382
The Republic of Udmurtia 0,522 0,525 0.061 0.062 0.094 0,103 0,248 0,250 0,134 0,139 0,274 0,276
The Republic of Chuvashia 0,546 0,563 0.037 0.037 0.127 0,155 0,415 0,276 0,193 0,156 0,298 0,244
Perm Region 0,559 0,586 0.089 0.069 0.207 0.208 0,542 0,267 0,279 0,181 0,435 0,287
Kirov Region 0.466 0.483 0.027 0.029 0.085 0.097 0.241 0,184 0.118 0.103 0.173 0.153
Nizhniy Novgorod Region 0.558 0,563 0.112 0.122 0.416 0.378 0.473 0.416 0.334 0.306 0.520 0.477
Orenburg Region 0,474 0,488 0.097 0.116 0.079 0.044 0,261 0.244 0.146 0.135 0.215 0.200
Penza Region 0,501 0,539 0.053 0.028 0.066 0,097 0,231 0,220 0.117 0.115 0.175 0.177
Samara Region 0,627 0,614 0.069 0,067 0.234 0,275 0,476 0,337 0.259 0,226 0.422 0,365
Saratov Region 0.484 0,526 0.106 0.105 0.132 0.123 0,235 0,097 0,158 0.108 0.234 0.165
Ulyanov Region 0,542 0,550 0,052 0.068 0.104 0,173 0,482 0,293 0,213 0,178 0,328 0.276
REFERENCES
1. Hmeleva, G. A. and loda, E. V. (2012) "Predposylki processnoj modeli formirovaniya innovacionnoi ekonomiki v regione". Socialno-ekonomicheskie yavlenija i processi, №5-6.
2. Programma «Socialnyi atlas rossiiskih regionov». Available at: http://atlas.socpol.ru/ indexes/index_innov.shtml (assessed at 13.01.2014).
3. Hmeleva, G. A. "Ocenka differenciacii regionov po urovnyu innovacionnogo razvitiya". Upravlenie jekonomicheskimi sistemami, № 6, 0421200034. Available at: www.uecs.ru. (assessed at 13.01.2014).
THE DEVELOPMENT OF GRAFFITI CINEMATIC DRAMATURGY
ABSTRACT. THE ARTICLE IS DEVOTED TO GRAFFITI. THE AUTHORS DISCUSS THE PREREQUISITES FOR THE RISE AND DEVELOPMENT OF THE DYNAMIC NATURE OF GRAFFITI CULTURE AND THE INFLUENCE OF CINEMA ON IT. AS THE RESULT OF THE ANALYSIS, THE AUTHORS CONCLUDE THAT THE CINEMATIC FEATURES IN THE ART OF MODERN GRAFFITI APPEAR ON THE DRAMATIC LEVEL, COMPOSITIONAL TECHNIQUES AND SCHEMES, SHAPED AND TECHNICAL SOLUTIONS, AND THAT THE EVOLUTION OF GRAFFITI HAVE GENERATED THE EMERGENCE OF NEW AUDIO-VISUAL CREATIVE DIRECTIONS.
KEYWORDS: WRITING, CINEMATIC LANGUAGE GRAFFITI, HUMAN-GRAFFITI, 3D STREET PAINTING, VIDEO MAPPING, GRAFFITI PROJECTION, LASER ANIMATION.
Graffiti is one of the most common forms of artistic expressions worldwide. It began with primitive men wall paintings and continued with frescoes in cathedrals and temples, but it became especially actual and creative in our time. The problem of modern graffiti, its forms and kinds are specified in scientific literature, but the authors of the article attempt to explore the positive side of the phenomenon in terms of its cinematic manifestations. The main purpose of the research is to analyze the evolution of modern graffiti culture as the art alternative to cinematic sphere, to describe the interaction effect of these kinds of art on each other, to consider graffiti as a precursor of new audiovisual creative directions.
The modern history of graffiti began in the early XX century, when New York subway and freight trains drawings appeared. Silent films with its advertisements, posters and flyers (what was the new
way of expression) greatly influenced on graffiti formation. In the 1900s, the common type in posters decoration was constructivism, which later became the dominant graffiti style. Like posters, the drawings of artists (or graffitists) became framed and bordered; they contained the different in scale, design and character; the decorative color scheme complicated.
In the 20-ies of the last century writers' pictures on the walls and trade or passengers trains could probably stimulated the Dadaists artists (members of the group"Dada") to challenge the traditional creativity. Experimenting in the movies, they created films, scratched or painted directly on film, which were a kind of cinema graffiti. Among them was the artist, photographer and director M. Ray. He is the author of such films as "Le Retour à la Raison" (1923), " L'Étoile de mer" (1928). In future, painting movie frames manually became boldly introduced in black and white versions of cinema. First the certain parts of the frames were stained to create special effects ("Battleship Potemkin" dir. Eisenstein, 1925, "Phantom of the Opera" dir. R. Julian, 1925) , and then monochrome filmstrips became colored. With the improvement of computer technologies colorization of old movies was widely spread throughout the world. But the films, which were the result of colorization, in fact, represent the other kind of movies. Hence the relevance to colorization of films is similar to vandalism recalls related to graffiti, at its discretion, changing the architectural aesthetics of streets, underground transitions, external and internal design of transport.
There are many types and styles of graffiti: static and dynamic. From the cinematography point of view, dynamic style is more interesting. It is usually drawn at the vehicles: trains, buses, cars, planes. Industrial and technical equipment of graffiti arias helped the graffitists to make their art more dynamic, making it similar to the rhythms breakdance, hip-hop and other developing subcultures as skateboard, snowboard and parkour. People, standing at the platform, see the passing painted trains and associate them with a film, where there are frames-train cars, titles-labels, characters and audio support (natural noises, urban cadences, rhythmic sound of the wheels). You can contemplate either from the windows of transport, if there are painted urban areas or concrete barriers along the route. Painted high-speed transport also serves as means of rolling pictures - you can see them in different regions and cities.
Graffiti, like all youth subcultures, is divided into constructive and destructive forms, where "constructive form" promotes personal growth and creative potential of the individuals and "destructive form" is adolescence form, based on the manifestation of deviant behavior, destructive self-realization. S. Freud was one of the first, who tried to see the need for self-realization in dominant instincts of human. For Freud "Self-realization is localized in the unconscious layer of human mind and is manifested in the "pursuit of pleasure", inherent in man from birth. The need for self-realization is an existential need and mental state, eternal and unchanging in its basis. Social conditions can change only ways to satisfy it: it can find a way in creativity and destruction, love and crime, etc." [1]. Of course, we are interested in the constructive form of graffiti. However, in the history of art, there are some examples, when the great artists such as Raphael, Michelangelo or Ghirlandaio carved their names on the walls. Often youth "barbarian" outlines lead their authors in the world of fine art, where they reached the highest tops of their skills. Young I. Aivazovskiy made his first pictures on the whitewashed walls of the houses in Feodosia, for which he received numerous thrashing. In early years, S. Dali left sketches on tables, scratching the paint of the smooth surface. Besides, scratching was the technique, mastered by classical watercolorist and impressionists. Scraping of dye layers to the soil gave up the variety, softness and lightness of paintings. In the middle of the twentieth century, "grattage" (from the French "grater", which means to scratch) is scratching a cardboard, covered wax, gouache or ink, with a sharp tool, became an independent non-traditional way of drawing.
Dynamics of graffiti is genetically incorporated in this phenomenon, initially suffering from vandalism, marking areas and art unprofessionalism. With the development of content and the improvement of technique, graffiti moved to a new stage of communication, of expressing own opinions and ideas. The dramaturgy of exclusive images and interesting characters are arising and the levels of skills and styles are increasing. Graffiti evolves, gaining popularity, and writers' contexts find freedom. The accents go to the color-forming elements, which are built into the complex aesthetically oriented configuration, acquiring new artistic susceptibility. Authoritative fine community seriously views the constructive graffiti and considers it an integral part of art culture.
The most famous modern writer in the world Banksy makes megalopolises in exhibition areas, workshops and galleries. His provocative socially relevant art objects are documents of latest news about politics, incidents in the world and interesting observations. Banksy works at nights, hiding from the eyes, so he works fast. His silhouette graphics is made with the prepared stencils and
sprays or with the aid of images, projected on the walls. This technique does not require a lot of time, careful study or financial costs. It is possible that under the brand name "Banksy" is hiding the whole corporation, as the art studio of Andy Warhol, uniting the determined staff. The works have the audiorecords, commenting the meaning of images. They can be heard by dialing phone number, which is left near the picture as an autograph. Street-art in silent execution goes into sound one, as if silent movies, in its time, gave way to sound films.
Cinematic art, which catalyzed graffiti, shows itself the interest to graffiti, produces films about the legendary representatives ("Wild Style" dir. Ehern Charles, 1983 ; "Beet Street" dir. S. Lathan, 1984, "Quality of life "dir. B. Morgan, 2004), uses writers basis in titles and animations. In turn, graffitists depict heroes of movies, television productions and cartoons, use semantic titration sequence. Cinematographic language of graffiti consists of verbal text and paraverbal appointment (symbols, illustrations, images). Authorship is important for graffitists; their font is full of "tags" - autographs and logos. Cinematography is also full of directors' autographs, when directors theirselves appear on the screen, usually in supporting roles. Currently creative ideas in a static wall art began to form the illusion of movement as a natural transition from one stage to another -creation, existence and disappearance of urban exterior image. For this purpose, easily removable impermanent paints are used. The aim to give the cinematic effect (space-time continuum ) to works justifies the use of fragile artistic material. Artist H. Rodriguez Gerada created on the facades of houses scale portraits of people. They are short-lived, ephemeral, easily washed off by rain, and this is their philosophical destination. Formation of the picture, short period of its existence, natural modifications, which are made in passers-by (viewer) presence, all this is a lot like watching slowly removing film, with its beginning and end. However, to keep the track in history, all the stages of transformation are documented on the photo or film. The similar kind of graffiti is made on the beach sand. These fragile creations emphasize that everything has short living - the old forms are destroyed to be replaced by the new ones, much more improved - and everything has perpetual motion. The artist A. Amador create large-scaled beach patterns at low tide by loosening sand. The result is the contrast between the loosened damp surface and pristine dry one. Tidal wave washes the image and you can start another drawing. All this reminds sand animation in monumental form, and slow conversion from one image to another makes this art a highly creative dramatic expression. In this type of graffiti the static form is transformed into dynamic one. Another kind of dynamic graffiti is body art, which differs only with the other art surface. Compositions on the underway human body demonstrate the content of "live" pictures to the audience in changing angles, transformations of outlines. Body painters often perform unique font theme on conditional brick walls. All this (and also the wall) is the creative context on the human format, a kind of human-graffiti. As we see, this industry of "beauty" has the same movie screen base - creation of spatial and temporal changes on plane.
Powerful element of modern entertainment industry is computers. Digital technologies have not only contributed to an unlimited development of filmmaking, but also provoked the emergence of computer graphics in art and the computer writing became the part of it. When the virtual "walls" of "boards" appeared in the Internet, graffiti elements also appeared there. People began to create lettering and nominal phrases-pictures, referring to them on the pages of the online forums. "This kind of art is called ASCII Art. Masterpieces of the genre can be seen on special websites or on a floppy framework of a computer program, and video games" [2]. In plots of some video games, graffiti characters come to life and become the main characters of gameplay dramatic element. Dynamics of writers' incarnations was realized in explicit dimensional form.
Stereo 3D movies have become one of the main trends in cinematography, animation and advertising. Movies in three-dimensional format made counterparts of painting and drawing. In 1982, the artist Kurt Wenner created a new form of street art «3D street painting». Fine art, having made the jump, reached the new level. For the depth of experience, increasing the scopes of pictorial plane to the size of streets, squares and parks, graffitists began to create three-dimensional figures in two-dimensional space on the pavement. In this case, cinematographic effect is also presented - the change perspective on the iconic object leads to destruction of the illusion of reality. Circular dynamic display of works creates its progressive form, accentuates and destruction. The artist Kim Joon invented first volume body painting projects. Installations of moving twisted human bodies, painted with patterns, against the background of flat surface or carpet, define a new dynamic 3D style of graffiti. Now, fully mastered unconventional territories such as, asphalt, cars, human bodies, graffiti artists moved to the galleries, where 3D paintings are not limited by the perimeter of work and the image boldly spills over the frames. At the exhibition of 3D paintings "Magic Art Special Exhibition
Of China", held in 2012 in Hangzhou, spectators were involved in volume paintings, so the illusion of mandatory presence in the plots was made by the authors. Immediate real actors became the logical continuation of fine stories.
Thus, cinematic manifestations in different types and directions of writers art scenarios evolve. Recently, armed with laser and projection plants, graffiti again changes its expressive form, but the content remains the same dynamic creative art on the plane, like the screen one. Colorful geometry of laser animation creates pictures on all surfaces: on special mesh screens on the walls, on smoke or on the water surface. 3D- mapping (interactive video projection of image on real objects) takes into account the architectural features of buildings, activates and includes structural elements in light show, making them integral to its active component. This wall writing completely transformed into a cinematic mapping or graffiti projection, survived digital reincarnation and became the trend in show business, advertising, theaters and concerts. In some experimental scenarios of color shows with interactive devices viewers become the part of the art objects, interact with them, immerse in the process of creating the product of the surrounding space. Therefore, in 2011 the system of combining volume laser animation with video projection produced a universal 3Dmultimedia show - the large-scale spatial installation. Most likely, in the nearest future, cinematography, which is yet screen art, will gain this kind of format.
Summarizing, we would like to note that this article is graffiti is represented not as an isolated phenomenon in contemporary art, but is characterized in the context of different levels of cinematic development. Moreover, in this connection let us consider how its cinematic nature with the development of digital and laser technologies became the forerunner of new audiovisual creative directions of alternative cinema.
REFERENCES
1. Mihailov, N. N.(1982) "O potrebnosti lichnosti v samorealizacii. Nauchnyj doklad vysshej shkoly". Filosofskie nauki, № 4, p. 24.
2. Voronova, E. Iskusstvo graffiti. Available at: www.bestreferat.ru/referat-193603.html (accessed at 10.01.2014). ATTITUDE OF INDUSTRIAL ENTERPRISES EMPLOYEES TO INNOVATIONS
ABSTRACT. THE PAPER PRESENTS AN ANALYSIS OF ATTITUDES TO INNOVATIONS, INNOVATIONS IN MODERN RUSSIAN INDUSTRIAL ENTERPRISES, CARRIED OUT WITHIN THE FRAMEWORK OF SOCIOLOGICAL RESEARCH ON STAFF TRAINING AS A FACTOR OF INNOVATIVE ACTIVITY OF INDUSTRIAL ENTERPRISES.
KEYWORDS: INNOVATION, INDUSTRIAL ENTERPRISE, VOCATIONAL TRAINING, PERSONNEL.
EVGENIA ZHELNINA
CANDIDATE OF SOCIOLOGICAL SCIENCES, ASSOCIATE PROFESSOR, TOLYATTI STATE UNIVERSITY OLEG ZHELNIN
ENGINEER, VOLGA MECHANICAL PLANT
Due to increased demand on various innovation in modern Russia (the innovations of new technologies, products and services, control systems, interaction and communication upgrades), we considered it necessary to study this phenomenon (innovation and innovative) both in terms of theory and methodology, and empirically [1, p. 37]. Consequently, the aim of this paper is to present the results and conclusions of this study.
The authors involved 400 respondents in the empirical sociological study. All of them are the employees of 70 industrial enterprises of the Volga Federal District. 16 cities took part in the survey: Dimitrovgrad, Zavolzhsky, Izhevsk, Kazan, Naberezhnye Chelny, Neftekamsk, Nizhny Novgorod, Orenburg, Ryazan, Salavat, Samara, Solikamsk, Sizran, Tolyatti, Ulyanovsk, Ufa, and Cheboksary. Among the surveyed enterprises prevails big business (81 %).
During the analysis of the data, it was revealed that in top and senior management there are people with the higher education (100%). Six middle managers from seven trained in higher educational institution. In addition, half of line managers also have a diploma of higher education. These figures allow us to make a conclusion that the appointment to the executive position in modern Russia must be preceded by receiving a diploma of higher professional education and the specialization does not matter.
