Article
Коммуникативные особенности и конструктивная структура шрифтовой айдентики городов (на примере бренда Мурманска)
The article is devoted to the problem of communicative features of the constructive structure of the font identity in the city branding sphere. This problem is considered in the framework of the nonlinearity of visual communication based on typology, comparative and structural analysis of the font identity of the world's cities. The article analyzes the brand identity of the city of Murmansk (2015) with the use of qualitative research methods: an expert interview with the designer of Murmansk identity.
By analogy with contemporary business practices, nowadays, city managers need to become “residents’ – centric”, as competition for residents and resources increases. The ultimate goal of such an approach is to boost the level of satisfaction with the city. Several researches raised the problem of city satisfaction conceptualization and measurement. To contribute to this discussion, we develop an assessment method, which takes into consideration subjective and situational nature of satisfaction. To test the method we have carried out an empirical research, employing the representative sample of the residents for a large Russian city, Perm. The results allow for the illustration of the cumulative and hierarchical nature of city satisfaction, and, hopefully, contribute both to the theoretical aspects and practicalities of place management.
The article deals with the problem of nonlinearity in the structure of media and aesthetic communication in contemporary visual identity and territorial brand identification. As an element of nonlinearity stand out abstract images, — the visual elements that do not have matching subject in the real environment. The problem of the artistic image is considered in the context of the theory of communication as a key element of shaping visual identification in the field of mass communications and branding.
The concept of city brand equity has caught attention of many marketing scholars, but because of complex nature of cities it remains one of the difficult concepts to quantify. In this article, we develop an approach to measuring city brand equity by evaluating city quality. According to signalling theory, city branding is the signal for consumers that communicates the city quality. The signal credibility creates city brand equity. This cannot be measured directly but can be evaluated through the city quality, which, in turn, represents the ability to fulfil residents’ needs. This study uses the conjoint analysis technique to measure city quality as a driver of consumer-based city brand equity. The approach is applied to the case of city branding campaign in Perm, Russia, to examine the roots of the city’s brand failure and propose the ways to strengthen consumer-based city brand equity.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
Abstract
English
In the cultural sphere, the period between the October Revolution and the initiation of the first five‑year plan was marked by a series of heated public debates about the function of visual art and media in the new socialist society. Prominent theorists, including the Commissar of Enlightenment, Anatolii Lunacharskii, and writers associated with the journal Lef, such as Boris Arvatov and Sergei Tret´iakov, participated in these debates, as did modernist artists and realist painters. Photography was a central theme, and by 1925 the question of how the advances in photographic and other forms of mechanical reproduction were changing the nature of the visual had emerged as the debates’ most pressing problem. While all of the debates’ contending factions recognized the significance of photography, they also agreed that the material components of painting—particularly color and surface texture—remained essential to the development of comradely socialist relations. This article brings to light for the first time the aspects of early Soviet thought on aesthetics and communication that led to the firm establishment of painting as a visual medium essential to socialism. It demonstrates in particular that the materiality of painting and its traces were linked to the activation and transmission of the sensations of the body, which were considered necessary for the formation of socialist connections.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.