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Memory invariably involves sifting and sorting historical traces and reassembling them into societal representations of the past. Usually this has been done by social groups of different kinds or the cultural institutions associated with them, and has provided materials for the construction and maintenance of group identity. In what I term “spectacular memory,” however, the sifting and sorting of memory traces is performed by commercial and media institutions within a globalized cultural framework to create spectacles for mass consumption. Spectacular memory is enabled by the progressive breakdown of Halbwach’s “social frameworks of memory”—the association of memory with face-to-face relations within social groups. In late modern societies, “memory” as a coherent body of representations which is the property of more-or-less bounded social groups has largely devolved into a globalized store of representations curated and diffused through the media, advertising, tourism and entertainment industries. This article uses the example of the history-themed shopping malls of Dubai to characterize this form of memory.

The article describes the content and features of the state cultural policy during the Great Patriotic War. In the pre-war period and in the first years of the war, the state budget cut on cultural expenditures, and all Soviet cultural institutions aimed their activities at achieving the main strategic goal, i.e. victory. The research was based on an institutional approach, as well as methods of analysis, synthesis, and comparison. The author studied various regulatory documents and defined the main features of cultural activities in wartime conditions. Advantages of the socio-political system made it possible to mobilize all types of resources in the shortest time possible. Institutions of culture were responsible for propaganda and recruiting campaign, thus performing the function of ideological and political inspirer of Soviet citizens.

The aim of the study is to demonstrate which pro-environmental initiatives consistent with the idea of sustainable development are undertaken by municipal cultural institutions in Poznan—the largest city in the Greater Poland region in Poland. The diagnostic survey was conducted by means of interviews with directors of municipal cultural institutions or their representatives. A total of 12 (out of 15) municipal cultural institutions from the city of Poznan were surveyed. All were asked to cite specific examples of their activities, visualising their institution’s approach to ecology. The results indicated that the institutions undertake numerous eco-initiatives, which very often fit into the discourse on so-called “deep ecology” and address the sources of the existing environmental crisis. Their activities are also aimed at stimulating a “return to nature” of the city’s inhabitants. In addition to initiatives aimed at the recipients of the offer of individual institutions, many institutions also pay attention to pro-environmental internal activities. In effect, the results could be divided into three general groups, which include internal institutional activities, the implementation of projects on environmental themes, and educational activities in the field of ecology. However, these activities were undertaken individually, as the survey revealed a lack of inter-institutional cooperation on ongoing projects.

<p><em>Javanese culture is a noble value order as a form of embodiment of all human actions in overcoming various problems related to life and life, both social, economic, cultural institutions, and even leadership styles. In Javanese political ethics, it is known as the concept of hasta brata which is the essence of the noble values of culture as a form of depicting the ideal leader. The hasta brata teaching is one of the teachings in wayang kulit, its contents are about the eight elements of the nature of bearinga, samirana, candra, solar, ocean, kartika, sky, and dahana, each of which has its own philosophical meaning, namely the teachings of character or ethics. Hasta brata is a political way that prioritizes ethics and social systems created by leaders to provide coolness and peace, eradicate crime, be wise, patient, friendly and gentle, see, understand and live up to all the needs of their people, provide welfare and assistance to people in need. , able to accommodate everything that comes to him, whether pleasant or not, and can provide a lamp for the people.</em></p>

Current technological developments offer an inexhaustible number of procedures for digitization. However, technological equipment intended for teams in professional laboratories reaches price levels that cultural institutions often do not have enough finances. Procedures and methods using equipment, which institutions often already own or are not so expensive to acquire, come to the fore. One of them is the RTI (Reflectance Transformation Imaging) method, which creates a spatial relief composed of a sequence of images with visible lighting. The RTI method is very successful in depicting illegible or wiped details and is already widely used in archaeology.

Motivation: The study of the problem of “cost disease” contributes to the possibility of creating a model for effective subsidy to cultural institutions operating in the field of performing arts from public funds. The study also forms a part of a broader reflection on the values of culture, the humanism of culture and the economy in general. Aim: This article is to examine the connection between productivity and labor costs in public theatres in Poland. We investigate what the level of productivity depends on. We check whether it is based on costs or the so-called income gap or another factor. We verify whether costs in PAOs in Poland increase according to the theory of Baumol’s cost disease and whether labor costs are particularly significant in total costs. Results: Labor costs should be taken into account when subsidizing performing art organizations, as productivity growth depends on having funds to cover labor costs and increasing employment.

As of two cases in this study which were carried out in Madrid as social practices in art, community methodologies have been detailed as practiced in order to formalize collaborative creation proposed by each one. El Beso (The Kiss) (2018) and Cuentos que nunca cuentan (Tales that are never told) (2010) were carried out by the artist Toxic Lesbian with the participation of institutions such as Medialab-Prado and Intermediae, both of which are integrated in Matadero Madrid, Contemporary art creation center of the City Hall of Madrid. Both cases involved participation of the most directly concerned audiences because of the themes undertaken: migrant women in El Beso (The Kiss) and collectives of directly involved people in mental health in Cuentos que Nunca Cuentan (Tales that are never told). The proposals presupposed intervention in the public space of the city for their production and involved a wide representation of activists and elements of social or cultural institutions. This qualitative análisis of the processes and testimonies of the agents that participated seeks delving into the motivations of communities to become involved in this type of development, the role played by institutions or the inevitable politization of the proposals by the administrative structures that finance them. A partir de dos casos, objetos de este estudio, y desarrollados en la ciudad de Madrid como prácticas sociales en el arte, se pormenoriza en sus metodologías comunitarias puestas en práctica para formalizar la creación colaborativa que cada uno propone. El Beso (2018) y Cuentos que nunca cuentan (2010) fueron llevados a cabo por la artista Toxic Lesbian con la participación de instituciones como Medialab-Prado e Intermediae, ambas integradas en Matadero Madrid, Centro de creación contemporánea del ayuntamiento. Los dos casos supusieron la participación de los públicos más directamente concernidos por las temáticas abordadas: mujeres migrantes en El Beso y colectivos en primera persona en salud mental para Cuentos que nunca cuentan. Las propuestas presuponían la intervención en el espacio público de la ciudad para su producción, e implicaron a una amplia representación de la sociedad civil a través de asociaciones, activistas y dispositivos institucionales sociales o culturales. Este análisis cualitativo de los procesos y testimonios de los agentes intervinientes persigue profundizar en las motivaciones de las comunidades para implicarse en estos desarrollos, en el papel de las instituciones o en la irremediable politización de las propuestas por parte de las estructuras administrativas que los financian.

Mikhail Tarielovich Loris-Melikov is a person who has gone down in the history of Vladikavkaz by many good deeds that have left a rich cultural and historical mark forever. He took the most active part, including financially, in the organization and functioning of a number of charitable and social and cultural institutions, donating significant sums from his own capital and income. The craft school of pre-revolutionary Vladikavkaz survived all epochs of political transformations and military events. Thanks to the vocational school, production on the territory of Ossetia developed successfully since there were high-quality trained cadres in a new direction, but functions to this day, preserving the memory of Mikhail Tarielovich as its founder. The financial investment and the capital left by Loris-Melikov in his will served as the basis for the functioning of the school during the first few decades since its opening. The difficult periods in which the educational authorities were forced to change the rules of admission in connection with those and other reasons causing financial difficulties are also briefly touched upon. The article provides information on income in the form of interest deducted by the bank and the expenses of these amounts for the needs of the school, including scholarships for students. The content of the publication will make it possible to trace the expansion of directions in the training of specialists due to the opening in different years of new departments, with a narrow specificity. The publication will allow you to have an idea of the urban life of this period, since it partly reflects the life of the inhabitants who turned to the workshops of the vocational school for household services, which the school was quite capable of providing conclusion, we are talking about the post-revolutionary activities of the school based already on the Soviet education system.

This study aims to determine the differentiation of the impact of stakeholders on the institutional configuration of the microeconomic ecosystem. The object of this study was the stakeholders of the microeconomic ecosystem. The study scope is the economic relations between the subjects of economic activity on the impact on the formation and institutional development of the microeconomic ecosystem. The analysis of previous studies is carried out, and the main stakeholders of microeconomic ecosystems are identified. These include public organizations, consumers, suppliers, competitors, educational and scientific organizations, government authorities, and social media. The method of PEST analysis of the factors of the company's microenvironment identifies social, technological, economic, political and cultural institutions of the company's external environment. Based on the analysis of the results of published scientific research, various levels of influence (strong, medium, weak) of the main stakeholders on the institutional configuration of the microeconomic ecosystem are determined. It is shown that the uneven importance of stakeholders in the formation of the institutional configuration of the microeconomic ecosystem can be the basis for the development of strategic plans for the development of ecosystems.