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DOI: https://doi.org/10.34069/AI/2023.61.01.35
How to Cite:
Bannikova, K., Fryz, P., Voronova, N., Bondarenko, A., & Bilozub, L. (2023). Digital transformations in culture and art: new
opportunities and challenges. Amazonia Investiga, 12(61), 348-358. https://doi.org/10.34069/AI/2023.61.01.35
Digital transformations in culture and art: new opportunities and
challenges
Transformaciones digitales en la cultura y el arte: nuevas oportunidades y retos
Received: January 14, 2023 Accepted: February 27, 2023
Written by:
Kateryna Bannikova151
https://orcid.org/0000-0002-5696-1033
https://www.webofscience.com/wos/autor/registro/333156
Petro Fryz152
https://orcid.org/0000-0002-5950-6239
Web of Science: HTL-9783-2023
Nadiia Voronova153
https://orcid.org/0000-0001-7957-1655
https://www.webofscience.com/wos/author/record/D-4808-2018
Andrii Bondarenko154
https://orcid.org/0000-0002-6856-991X
https://www.webofscience.com/wos/author/record/ADW-9714-2022
Liudmyla Bilozub155
https://orcid.org/0000-0002-2384-827X
https://www.webofscience.com/wos/author/record/HGE-9878-2022
Abstract
Digitalization covers all areas of social activity.
For a long time, cultural and artistic life has been
incorporating practical elements of the digital
world into its arsenal, while traditionally leaving
its creative components unchanged.
Technologization, informatization, and
digitalization have been used at the stage of
production or broadcasting of cultural and artistic
content (digital culture, cultural technologies)
since their introduction. However, the digital
world is gradually beginning to claim the role of
a direct creator of cultural elements. Such digital
transformations in culture have become a
relevant subject of research in the innovation
cluster of this sphere of human activity. The
purpose of the article is to search for new
principles of the process of digitalization of the
cultural and artistic cluster in the current
conditions of development of the socio-cultural
151
PhD, Scientific degree: Candidate. Specialty: Sociological sciences. Head of People, Oxford Quantum Circuits Thames Valley
Science Park Shinfield, United Kingdom.
152
PhD of Art Studies, Associate Professor Department of Vocal and Choral, Choreographic and Fine Arts, Faculty of Primary
Education and Art, Drohobych Ivan Franko State Pedagogical University, Ukraine.
153
Doctor habilitated in Pedagogics, Docent, Professor of the Department of Philosophy, History, Social and Humanitarian disciplines
faculty of humanitarian and economic education, SHEE “Donbas State Pedagogical University”, Ukraine.
154
PhD, Lecturer Department of Musical Art, Faculty of Music, Kyiv National University of Culture and Arts, Kyiv, Ukraine.
155
PhD in Art History, Assosiate Professor in the Department of Fine Arts and Design, Faculty of Ukrainian and Foreign Philology
and Art History, Oles Honchar Dnipro National University, Dnipro, Ukraine.
Bannikova, K., Fryz, P., Voronova, N., Bondarenko, A., Bilozub, L. / Volume 12 - Issue 61: 348-358 / January, 2023
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space. It is proposed to find the principles by
which the digitalization of culture and art is
implemented in two key dimensions: creative
and organizational. These principles focus on the
flexibility, dynamism and synergy of the cultural
and artistic space in the context of digitalization.
The research methodology is based on general
scientific and cultural methods, as well as
synergistic methodological principles. The
results of the study indicate that cultural and
artistic development in the digital environment is
gaining qualitatively new opportunities in the
technical, organizational, information,
communication, and logistical aspects while
demonstrating the potential ability to be realized
in the creative segment. Thus, digitalization as a
powerful global trend in the development of
society shapes innovative trends in the cultural
and artistic sphere. The author traces the
prospects for synergy of the digital segment in
the cultural environment with the actualization of
innovative principles.
Keywords: cultural and artistic space, digital
culture, digitalization, creativity, cultural
innovation.
Introduction
The digital era is a period of civilizational
development in which competition in all spheres
of social activity has become global (Hsu et al.,
2018). Recently, competition has also become
relevant for the cultural and artistic environment.
If earlier cultural achievements were guided by
such abstract principles as cultural trends, social
preferences, and ideological overtones, today's
cultural development is characterized by greater
pragmatism. The creation and realization of
cultural content dominates the demands of the
consumer of a cultural product. Under such
aggressive conditions, the development of the
cultural and artistic environment is reoriented
from the creative to the pragmatic dimension (see
Figure 1).
Fig. 1. Reorienting the priorities of the cultural and artistic environment in today's world
Source: Authors' own development.
Previous cultural and
historical eras - the
fundamentality of the
creative and worldview
component in culture
Modern cultural and
artistic space - the
dominance of the
pragmatic and
organizational
component in culture
Prospective
development of
culture - the priority
of synergistic
interaction between
the creative and
pragmatic dimensions
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The purpose of the article is to search for new
principles of the process of digitalization of the
cultural and artistic cluster in the current
conditions of development of the socio-cultural
space. The task of scientific research is to
highlight the features of the digital format of
artistic provision, which are expressed in the
creative and organizational dimensions.
The research platform for the study was modern
models of cultural and artistic creativity that use
digitalization processes (as auxiliary elements or
by completely basing the creative component on
digital manifestation).
In contemporary studies of scientific and cultural
discourse, one of the key issues is the role and
status of digitalization in the cultural and artistic
space of our time and the prospects for the
development of this sphere of social activity. If
we consider the present in culture, we should
realize that elements of the digital world are the
mechanisms that fuel the dominance of the
pragmatic dimension of culture. Cultural
achievements are gradually moving away from
focusing on the standards of high art and
spirituality, giving preference to a practically
oriented understanding of culture. The culture of
consumption prevails over the culture of
creation, so digital resources are becoming more
in demand. At the same time, such guidelines
pose a threat of eliminating the moral and
spiritual component and increasing the
dependence of culture on material and
technological component.
Digitalization has dramatically changed the
balance of supply and demand in the
consumption cluster (Cuomo et al., 2021). This
process has not spared the cultural sphere, which
is traditionally less dependent on the efficiency
and productivity trends of the socio-economic
segment. However, culture in today's globalized
world is influenced (and sometimes pressured)
by socio-cultural realities. The trend towards
digitalization leads to the formation of trends in
the digital space in the culture itself.
Among the research questions raised in the study
of digital transformations in culture and art,
theoretical, methodological, and practice-
oriented guidelines that ensure the integration of
cultural and artistic achievements into the digital
space are actualized. The research proposes an
analysis of flexibility, dynamism, and synergy as
principles through which cultural and artistic
activity correlates with the realities of the digital
space. New tools of the digital environment and
their obvious impact on creative activity, which
is a fundamental component of culture and art,
are considered.
Having considered the problem of guidelines that
dictate the conditions for the development of a
cultural and artistic cluster in the context of
digitalization, the next step in the study was to
consider the human dimension of cultural
digitalization. The digital space unites all
participants in cultural and artistic life: creators
of cultural heritage, consumers and connoisseurs
of artistic products, and organizers of cultural
life. The article proposes to consider the
transformation of the positioning of all
stakeholders in cultural and artistic activity. This
aspect causes a lot of controversy and is key in
the discussion about the interaction of
participants in the cultural space in the context of
digitalization.
Theoretical Framework or Literature Review
Considering the experience and new
opportunities of digitalization of cultural and
artistic life, it is necessary to clearly position
these processes in the sociocultural space. Hsu et
al., (2018) note the global transformations on a
cultural and historical scale caused by digital
innovations. At the same time, a scientific
analysis was also conducted on local cultural
clusters and their transformation under the
influence of a digital resource. Lebid et al.
(2021), analyzing the impact of digitalization on
the musical cultural space, note that in this
cluster, innovations are expressed in
organizational and technical terms. At the same
time, the creative element remains vulnerable to
innovative transformations. The article proposes
guidelines for the functioning of cultural and
artistic life as a response to the problem of
culture's vulnerability to innovative pressure.
Research activity in the field of digitalization and
culture is mostly focused on the problem of using
digital tools in the creation and broadcasting of
cultural heritage. At the same time, the nature of
the interaction between the digital and creative
dimensions remains unexplored, which has
become the leitmotif of the study.
The analysis of digital transformation in the field
of culture is based on a review of studies of
scientific and cultural discourse. The experience
gained in the implementation of digital resources
in the cultural and artistic space is also relevant
(Camarinha-Mato et al., 2019).
Although digitalization has been integrated into
the cultural and artistic environment for a
relatively short time, digital gaps are already
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being observed due to uneven audience coverage
of cultural trends and innovations (Iivari et al.,
2020). Therefore, the need for a holistic coverage
of this problem in the scientific and cultural
discourse is urgent and relevant. In this context,
synergy is a principle that is designed to achieve
this integrity in the cultural and artistic world.
Digitalization is a tool capable of ensuring this
synergy. It is noted that the issue of synergistic
interactions in the cultural and artistic space is
practically not raised in modern scientific
literature, while at the same time requiring a
thorough study.
One of the key elements under study is the
interaction of digital and cultural space (Arrigoni
et al., 2020). Fanea-Ivanovici & Pană (2020)
study the digitalization of the cultural sphere in
the context of shaping cultural consumption. In
order to determine new interactions between
digital and artistic spaces, it is important to
understand the level of their potential autonomy
in the contemporary cultural world. Nadkarni &
Prügl (2021) worked on these issues. These ideas
are in fact contradictory, but the discussion based
on the question of the positioning and degree of
autonomy of cultural, artistic, and digital space
allows us to raise (and in some cases resolve) the
status of interaction between these elements.
The study pays a lot of attention to the reaction
of those involved in digital cultural and artistic
achievements. In particular, Demirkan & Spohrer
(2018) note that the level of perception of digital
elements in the artistic sphere depends on both
creators and connoisseurs. This approach allows
us to prioritize the formation of experience in the
digital art cluster and identify new perspectives
for the use of digital resources. It is noted that the
human dimensional aspect has not been
adequately covered in the scientific literature for
a long time. However, with the actualization of
self-organizing elements in the scientific and
worldview picture of the world, the subject of
cultural and artistic life becomes a key player in
the use of digital resources in this area.
In the methodological dimension, feedback from
stakeholders of the cultural and artistic space on
their reaction to the implementation of digital
transformations is important. The format of
forming digital project teams and implementing
digital leadership training programs (Guinan et
al., 2019), as well as the functioning of digital
organizations (Loonam et al., 2018), seems
promising. Such structural elements are designed
to carry out analytical work on the dynamics and
effectiveness of digital transformation in the
cultural sphere.
Recent studies point to the prospects of creating
an alternative global culture based on digital
culture, the pop industry, and social demands
(Kim, 2021). Ossewaarde (2019) emphasizes the
need to update (at least) or transform (at most)
the level of digital influence on cultural and
artistic activities.
In the course of the research, the main
dichotomies in the scientific and cultural
discourse on the issue of digitalization of cultural
and artistic life were identified. Firstly, the
correlation between the demand for digital tools
and the needs of cultural and artistic activity is
indicated. The study positions digitalization as a
tool for improvement, continuing its pragmatic
and functional positioning in the scientific and
ideological paradigm. At the same time, there is
a radical positioning of digitalization, according
to which the digital space replaces the creative
dimension of the cultural and artistic
environment. Prospects for further scientific
research include structuring the digital arsenal in
relation to the cultural and artistic space, taking
into account the characteristics of cultural
artifacts and the moral and creative specifics of
participants in cultural life.
Methodology
In contemporary cultural and artistic life, we can
see the formation and development of socio-
cultural trends inherent in modern globalization.
Similar to Industry 4.0, similar trends are
emerging in the field of culture and art. In
particular, the 4.0 paradigm is being actively
implemented in the fashion cluster (Bertola &
Teunissen, 2018) or music (Lebid et al., 2021).
Such global paradigms allow us to analyze the
peculiarities of the implementation of digital
mechanisms in the most complete way. In this
case, comparative and structural analysis is
relevant, which defines the principles of the
effectiveness of digitalization in modern
industrial society in general, and in the cultural
segment of fashion and style in particular.
Kutnjak et al. (2019) note that “the cycle of hype
for new technologies affects industries
differently from the moment a particular
technology is introduced to the moment the
technology reaches its full potential for use in
real-world processes”.
The methodology that is actualized in the
proposed study is expressed in an algorithm that
is related to both digital and artistic dimensions.
In particular, considering the creative and
organizational segments of digitalization in the
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cultural and artistic sphere, we trace the
following phases:
• a dynamic set of all available digital tools
used in the creation of artistic works;
• professional selection of relevant, auxiliary,
potentially useful, or elimination of harmful
elements of the digital arsenal in the artistic
sphere;
• selection of promising digital resources that
will improve the process of creation and
logistics of the cultural and artistic
dimension.
Research activity in the field of digitalization of
culture and art has two key dimensions: object
(determines the direct involvement of digital
tools in the creation of cultural and artistic
artifacts) and subject (indicates the level of
involvement of digital potential for cultural and
artistic activity by the creator or consumer). This
methodological structure meets the goals of
scientific research on the creative and
organizational principles of digitalization in
culture and the guidelines that characterize the
symbiosis of the digital and cultural and artistic
space.
In accordance with the research methods used, it
is emphasized that the collection of data for
scientific research focused on the theoretical
analysis of digitalization manifestations in
cultural and artistic heritage and on the empirical
level of perception of innovative changes in the
cultural environment associated with the use of
digital resources.
Digitalization has gained such popularization and
support in modern society that it requires a
systematic positioning of this process in the
scientific and worldview picture of the world.
Simply highlighting the principles of digital
space functioning is not enough, since
digitalization is not only a mechanism or a
resource, but sometimes claims to be an
alternative or a complete replacement for
traditional forms of human activity. One of the
methodological approaches to the scientific and
cultural characterization of digitalization is the
strategy of developing the digital world and
integrating digital principles into all spheres of
social activity. In the cultural segment, a strategic
methodological guideline is proposed - Strategic
Doing, which focuses on the practical
(production) components used in the digital
dimension of culture (Jones et al., 2021).
As a rule, it is better to analyze the results of
digital transformation on the basis of large-scale
online cultural heritage platforms, such as
Europeana and Google Arts & Culture (Pesce et
al., 2019).
An effective methodological approach to the
study of digital transformations is to create a
conceptual framework (Isaksen et al., 2021).
Two conceptual clusters are being formed, one of
which specializes in the production of digital
products that can potentially be used in the field
of culture; the other focuses on the use of digital
mechanisms to improve the efficiency of cultural
experience transfer.
The digital potential of Big Data is essential for
cultural and artistic transformation (Ardito et al.,
2019). The ability to operate with large-scale
data allows for the preservation of cultural
experience (intellectual and aesthetic elements in
digital form) and cultural heritage (cultural
artifacts in digitized form).
Results and Discussion
One of the key results of the study was the
structuring of theoretical, methodological, and
practice-oriented guidelines for the integration of
cultural and artistic activity into the digital space.
The innovativeness of the digital arsenal makes
it necessary to use qualitatively new
methodological approaches to the organization of
the cultural environment. The article considers
promising guidelines that correlate digitalization
with the creative and organizational dimension of
culture.
The use of digital platforms has a clear
innovation orientation in the creative cultural
sectors (Scuotto et al., 2020). The feasibility of
using digital products in the cultural sphere can
be traced by comparing the effectiveness of
digitalization in relation to material culture
objects, and, at the same time, the difficulties
with the digitalization of spiritual culture
elements (Ranjan & Chaturvedi, 2022). The
successful integration of cultural and artistic
heritage into the digital space and the
implementation of digitalization principles in the
cultural environment can be ensured by
appropriate theoretical, methodological, and
practice-oriented guidelines (see Fig. 2).
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Fig. 2. Guidelines for digital transformation in the field of cultural and artistic development.
Source: Authors' own development.
Let's consider these guidelines in the context of
the already existing effective experience of
digitalization of cultural and artistic products or
in the context of new digital opportunities in the
artistic sphere.
One of the most important guidelines for
improving the process of digital transformation
in the cultural and artistic environment is the
flexibility of stakeholders in this space
(Demirkan & Spohrer, 2018). It is particularly
important to emphasize that flexibility should be
actualized on both sides of the participants who
ensure the digitalization of the cultural and
artistic space: both on the part of cultural figures
and artists in the context of their perception of
innovative digital formats in the cultural sphere,
and on the part of technical support for digital
resources where cultural content is created,
distributed and broadcast.
One of the key aspects of the study of cultural
digitalization is the practical implementation of
these processes. Social and entertainment venues
have been at the forefront of cultural and artistic
institutions that have used digital mechanisms to
improve their operations (De Bernardi et al.,
2019). The transfer of active cultural venues to
the digital space has significantly expanded their
potential for reaching and attracting visitors. The
tourism, hospitality, and entertainment sectors
have demonstrated a significant revitalization of
their activities using digital resources. Based on
the results of these industries, other clusters of
the cultural segment, especially those that focus
on artistic and spiritual factors, have gradually
been digitized. This is how the cultural
environment is gradually moving to the digital
space. Obviously, the first to realize this
reorientation were the segments of the materially
oriented cultural sphere. The artistic and spiritual
clusters of culture are incorporating digital
potential into their arsenal much more slowly and
to a lesser extent. These algorithms for realizing
the digital potential in the cultural spheres only
emphasize the flexibility of digitalization and the
lack of stable conditions for its application in the
cultural sphere. This approach is especially
important for the creative dimension of cultural
activity, where any restrictions or boundaries are
perceived as particularly painful.
An important guideline for the implementation of
digital transformation in the cultural sector is
dynamism, which is achieved through the
renewal of digital potential almost online (Jafari-
Sadeghi et al., 2021). Online art is a new format
for its creation, which requires new tools in both
creative and logistical terms. Digitalization is the
optimal mechanism for both sides of artistic
activity (creator and consumer) to achieve an
effective result and create a quality cultural
product.
In today's socio-cultural environment, a model of
the intersection of the digital and cultural
segments is being formed (Arrigoni et al., 2020).
The synergistic potential of digitalization in
culture and art is traced on specific examples of
the interaction of these components. In
particular, an important role is played by the
issue of format and design of displaying cultural
elements through digital resources. The quality
of cultural content largely determines digital
transformation strategies. Interesting and
meaningful cultural elements enable digital
Flexibility Dynamism Synergy
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professionals to focus on the technical and media
aspects of creating cultural content rather than on
addressing the shortcomings of the cultural
artifact itself.
The next research question of the study was to
highlight the human dimension of the process of
digitalization of culture and art. Since it is the
human being as the creator of cultural and artistic
achievements and the human being as a
consumer or connoisseur of these achievements
that forms the algorithms for their creation,
preservation, dissemination, and evaluation,
human dimensionality is a priority principle of
the study of cultural digitalization. The human
determines the role and status of digital influence
on culture through normative and regulatory
functions. At the same time, the rapid and
sometimes uncontrolled development of
information and digital content poses a threat to
the ability of humans to fully control the impact
of digitalization on culture in the future. If we
take into account the fact that cultural and artistic
development is subject not only to scientific and
rationalistic principles (which are much easier to
structure and control), but also to moral and
sensual dimensions (which have much more
potential for chaos and manipulation), then any
radical impact on artistic activity (and digital
influence is undeniably such) should be
thoroughly investigated in the scientific and
cultural discourse. The current study is focused
on actualizing the human dimension of the
process of digitalization of culture and art, which
will serve to control the impact of digital
innovations on cultural development.
So, let's consider the conceptual dimensions of
the digitalization of culture at the level of a
human creator and a human consumer
(connoisseur) of culture.
In the modern world, permeated by pragmatic
principles, not only the aesthetic component of
cultural achievements but also the practical level
of culture is becoming an important factor.
Fanea-Ivanovici & Pană (2020) focus on the
concept of “cultural consumption”. This term is
most fully consistent with the implementation of
digital culture, which improves all spheres of
social activity (communications, social segment,
economic and economic life) almost online. The
entire socially-oriented cluster of modern
civilizational development is correlated with the
principles of accessibility and engagement.
Digitalization provides all the opportunities to
make cultural and artistic heritage accessible
(both for creation and consumption) to all
members of society. In addition, digital
technologies have launched qualitatively new
modes of cultural creativity based on the do-it-
yourself principle, which is characterized by a
certain impoverishment of cultural meanings and
essences (Zebracki & Luger, 2019).
Nadkarni & Prügl (2021) conducted an analytical
study on the spread of the digitalization process
at the macro and macro levels. We are primarily
interested in the human dimensional macro level
of research. The result of the work was the
formation of inductive thematic maps, which
indicated the pace and intensity of digitalization.
It should be noted that the segments of cultural
and artistic life at this stage are significantly
inferior to the socio-economic segment in terms
of the level of digitalization. Therefore, it is
worth further monitoring the correlation between
the global and local spread of digitalization in the
field of culture and art.
One of the human dimensions is the socialization
of the process of digitalization of cultural and
artistic life. Ossewaarde (2019), exploring the
peculiarities of modern social theory, points to
the need to update it, as there is a real threat of
usurpation of the aesthetic and intellectual
spheres. Technologization, informatization, and
digitalization are the factors that can eliminate
the aesthetic and intellectual potential of the
modern worldview. Masking technological
trends with the need to increase productivity and
efficiency is a danger to the moral and spiritual
dimension of culture. A simple mechanism for
replacing the rational and aesthetic with digital
resources is beneficial in organizational terms
but catastrophic in terms of potential
consequences for civilizational development.
On the other hand, the growing influence of the
digital dimension in human cultural life should
not be ignored or rejected. Therefore, the best
solution is to correlate the principles of the
traditional cultural and artistic environment and
innovative digital resources. It is only in
synergistic methodological guidelines that
further harmonious development of culture is
possible. The interaction preserves the balance of
material and spiritual, creative and
organizational, which keeps culture from
reaching critical levels of traditionalism and
innovation.
If we look at digitalization structurally, we can
distinguish two fundamental components:
− technological and computing, and
information and communication;
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− self-optimization and creation of a
sustainable environment (Zimmermann et
al., 2018).
The research attempts to give digitalization of
culture a priority status by all stakeholders of the
cultural and artistic space. This process is
facilitated by the use of synergistic principles that
were applied in the study when considering the
theoretical, methodological and practice-oriented
support for digitalization in culture. Therefore,
the use of digital tools has its own characteristics
and algorithms for certain categories of cultural
actors. In particular, for cultural creators, the
autonomy of their own creative potential is
important when using the digital arsenal. For
consumers of cultural products, on the contrary,
the digital ability to improve their broadcast,
transmission, or distribution is a priority.
Therefore, the synergistic principle in this case is
a priority element in the process of cultural
digitalization. Since synergetics is directly
guided by the principles of self-organization, the
human dimension is again fundamental in the
proposed study.
The technological and information cluster is
much less used in cultural life, especially at the
stage of creating cultural elements. When the
issue of the subjective dimension of culture is
actualized, the synergistic processes of self-
organization and the formation of resilience to
permanent change become a priority for all
stakeholders in cultural and artistic processes. At
the individual level, the following factors of
adaptation to digital transformation are proposed:
awareness of the benefits of digitalization;
perception of changes associated with
digitalization, development of the necessary
skills to navigate the digital space; social
association of digitalization with progress and
development prospects (Trenerry et al., 2021).
The acquisition of relevant digital skills is
relevant for the educational sector (Abad-Segura
et al., 2020). Digital skills are formed primarily
when obtaining the appropriate educational level
and are further implemented in all areas,
including cultural and artistic.
No matter how much people who are close to
creativity would like to abstract themselves from
the realities of socio-economic or scientific and
technological development, it is becoming
almost impossible to do so in today's dynamic
globalized society. One way or another, business
models are gradually but surely (and most
importantly, efficiently and effectively) gaining
ground in the creative industries (Li, 2020). Over
the past decade, digital technologies have proven
to be effective in business strategies. Therefore,
the use of digital resources in the cultural
environment, which is becoming increasingly
economically oriented, is growing rapidly.
Creative industries are more actively integrating
into the digital space, enriching their potential. In
modern business strategies, creative and artistic
spheres are already forming their own models of
development in economic and socio-cultural life.
After all, the human dimension of digitalization
requires clear structure and organization when it
is integrated into the cultural and artistic space.
Culture, unlike science or education, always
needs additional corks in terms of orderliness and
organization, as these elements are existentially
lacking in cultural and artistic activities.
Therefore, the study proposes to add the problem
of the quality of the digital arsenal in culture and
the systematization of the use of digital tools in
this area as an element of streamlining the
digitalization processes.
This is how a new generation of services is being
formed in the socio-cultural dimension (Zaki,
2019). As culture is integrated into the general
consumption paradigm, it becomes massive and
accessible to everyone (both in terms of
understanding and the practical possibility of
accessing cultural heritage). Digitalization is a
mechanism that can ensure this integration of
culture into the global system of service
consumption. Digital transformation is relevant
for the cultural environment, as its advantages
are time and resource savings (Alrawadieh et al.,
2021).
At the same time, such an actualization of
digitalization will require a clear and active
protective action to protect the moral, spiritual,
and aesthetic dimensions of culture and art. A
promising task for the scientific and cultural
discourse is to develop guidelines that would
allow for the coordination and regulation of
cultural development through the same digital
resources. Given the power of the digital world,
modeling a culture-preserving format for the
development of a cultural and artistic cluster is a
realistic prospect.
In the modern world, the issue of quality is a
priority. However, in the cultural dimension,
cultural heritage has rather relative qualitative
characteristics. The article states the urgent need
to preserve cultural artifacts in quantitative
terms. This process is especially relevant for
artifacts that are threatened with extinction.
Digitization of such cultural objects is often the
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only solution to ensure their preservation for
cultural heritage (Alvarenga et al., 2020).
The issue of digital space design in the cultural
dimension is still under debate. Traditional
technological interfaces are difficult to apply to
the vast majority of cultural and artistic heritage,
as they are more focused on information
priorities (Preindl et al., 2020). At the same time,
cultural and artistic elements require mainly the
expression of meanings and moral and aesthetic
dimensions.
Digitalization makes it possible to provide
support for artistic achievements in
organizational, logistical, informational, and
other aspects. In particular, the issue of
copyright, intellectual property, and the
subtleties associated with the legal status and
maintenance of artistic elements remains an
important problem today (O'Dwyer, 2020). The
concept of digital rights prevents all potential
threats of misuse of copyrighted content or
artistic achievements. Thus, an artist or cultural
worker does not spend additional efforts and
funds, being able to concentrate exclusively on
the creative part of their activities. This is how a
promising aspect of understanding the role of the
creative element of digitalization of cultural and
artistic activity and its distinction from the
organizational component is formed.
Conclusions
Thus, digital transformation is gaining global
proportions in all areas of the socio-cultural
space. The cultural and artistic sphere is also
affected by digital mechanisms. The
digitalization of culture is being implemented in
two key areas: organizational and technological,
and artistic and creative. The main task of the
scientific and cultural community is to develop
principles for introducing digital mechanisms
into the cultural and artistic environment in order
to maintain a balance between the material and
technological and spiritual and aesthetic
components of this sphere.
Guidelines for the digital transformation of
culture are relevant: flexibility, dynamism, and
synergy. Synergistic interaction is a fundamental
priority of cultural development strategies in the
context of global digitalization. In addition,
synergistic relationships are designed to ensure
the practical effectiveness of using a digital
product in the cultural and artistic environment.
The formation of cultural experience based on
digital technologies can potentially become a
guarantee of preserving cultural traditions and
developing new elements of cultural
achievements.
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