Audiovisual sphere and creative industries: morphological transformations in the first quarter of the XXI century
Bibliographic record
Abstract
The purpose of the article is to analyze the morphological transformations of the audiovisual sphere and the sphere of creative industries in the first quarter of the XXI century. The object is the audiovisual sphere and the sphere of creative industries. The subject is morphological transformations in the specified areas in the first quarter of the XXI century. The relevance of this article lies in the need to understand the convergence of the morphological foundations of the audiovisual sphere with the morphology of modern creative industries and their mutual transformations. The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological methodological discourse. It is noted that in Ukraine, the school and directions of research of Ukrainian morphologists are only being formed. In the works of T. Borsunivska (theory of literary genres), I. Yurchenko (visual and morphological regularities of ornament) and some others, only certain local aspects of morphological issues were considered. The authors of the mentioned article also published works related to the principles of the functioning of the morphological system of audiovisual art in the modern age, its formation, etc. The article takes into account the concepts of post-industrial society by D. Bell, the concepts of information society and society of network structures by M. Castells. interesting concepts of “creative economy” by J. Hawkins, “cultural economy” by D. Throsby and A. J. Scott, “flowing modernity” by Z. Bauman, etc. The results. 1. Periodization of morphological transformations of the first quarter of the XXI century, which included two stages — from the 2000s to the 2010s — changes at the stage of “primary” digitization; from 2011 to today — at the stage of “secondary” digitization. A comparative analysis of these changes in both spheres of the West and Ukraine in the temporal dimension shows that in our country there is a certain delay in “secondary” digitization, both for objective reasons (the COVID-19 pandemic; the Russian-Ukrainian war) and sub-objective (insufficient development of the digitized Ukrainian environment). However, Ukraine strives to overcome these shortcomings. 2. The conclusion that in the temporal dimension both spheres, both in the West and in Ukraine, were morphologically structured almost synchronously, although they had different morphological sources of this structuring 3. The conclusion that in the spatial dimension, the transformations touched on the level of formation — changes in the “boundaries” of the “internal” and “external” space of both audiovisual artistic form and creative practice; at the level of species and genre creation — in a significant strengthening of the non-hierarchical nature of both spheres (and therefore turbulence) and an almost complete transition to a network type of functioning. There is also an active convergence of the morphologies of both spheres and the strengthening of mutual influences between them. The scientific novelty of the research lies in the fact that the morphological transformations of the modern audiovisual sphere and the sphere of creative industries are studied for the first time. A comparative analysis of these changes between the West and Ukraine was made. The analysis was made based on the temporal and spatial existence of both morphological systems. The practical significance of the article lies in the fact that the scientific analysis made allows us to identify the phases of the lag in both of these spheres in Ukraine from the European ones, and to determine on its basis strategies for overcoming this lag in the future.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.003 | 0.003 |
| Science and technology studies | 0.005 | 0.015 |
| Scholarly communication | 0.009 | 0.004 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.004 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".