Media aesthetic component of communication and its manifestation in infographic content

The goal of the present study is to demonstrate the media-aesthetic potential of infographic messages on particular cases. This can be done due to an integrated approach to the analysis of the visual content of media content. That indicates the case study method implementation as well as description and generalization. The theoretical basis of the research is represented by scientific studies of various directions. That includes the history of media and visual media culture; features of the concepts of media culture and media language, media aesthetics; infographics as a tool of media language. The empirical basis of the study is journalistic materials containing infographic content of such publications as by RIA Novosti (ria.ru), TASS (tass.ru). The examples of visual image implementation in the transmission of information — media content containing infographics — are given and analyzed. Considering media aesthetics as the formation of a sensory perception of the proposed media content, the author turns to the philosophical and aesthetic foundations of visual practices in the media and post-humanistic trends in journalism. As a result of the analysis of the theoretical and practical basis of the research, the author comes to the conclusion that today the role of the media aesthetic component of messages is most relevant. And infographics, as the connecting link of language and consciousness, is its most striking tool.


Palavras-chave
Estética da Mídia; Infográficos; Conteúdo Infográfico; Mudança Estética; Componente Estético da Mídia Among the main trends that reflect the transformation in mass communication today, there is a trend of the media visualization, which is under analyses in the present research. "Aesthetic turn" is becoming ever more relevant along with the "visual turn". Consequently, the role of the media aesthetic component of communication is becoming dominant, which makes it a prior field of media communicators' research.
Media aesthetics -the aesthetics of media -which is understood in the present study as the formation of sensory perception of the proposed media content.
In this connection, the purpose of the present research (is supported by the Russian Science Foundation, 18-18-00007) can be formulated as follows -to demonstrate the media aesthetic potential of infographic messages implimenting particular cases.
The achievement of this goal was carried out both through a consideration of the philosophical and aesthetic foundations of visual practices in the media of communication, and in the context of posthumanistic trends in journalism.
The presented study is based on a large amount of scientific literature. Its analysis allows to focus on such areas as: the history of media and visual media culture; features of the concepts of media culture and media language, media aesthetics; infographics as a tool of media language. Media, a lecture course by the German literary historian, electronic media by theorist Kittler (KITTLER, 2009) possesses a big impact. The scientist reveals the evolution of the media, taking as a basis their dispersive field, which is optics. Kittler notes that optical media proceed their own evolutionary path (starting from the ancient period). The author produces the historical archeology of media platforms (media technologies), tracing it from antiquity to the advent of the computer., The article Deus Ex Machina: The Human during the Expansion of the Mechanical and the Electronic by of Zagidullina is of interest as part of the present study. The author claims that throughout the history of mankind such qualities as mechanical, sacred, and human are closely intertwined. Emphasizes that with the cult of everything mechanical, the genre of techno utopia is eroded. As an example, the researcher draws attention to such a technical breakthrough as the invention of the camera and the mass distribution of photographing, which included not artists, but specialists in technology and practical Media aesthetic component of communication and its manifestation in infographic content chemistry of reagents in the field of visual arts (ZAGIDULLINA, 2018, p. 441).
Considering the concepts of media culture, media language and media aesthetics, the study Digital culture: the horizons of artificial life raises the issue of cultural production in the paradigm setting of digital culture, which is directly related to the topic of the present study and the current interest in aesthetic turn in the media (GALKIN, 2005(GALKIN, , 2013. The study by Pierre Bourdieu describes the production of symbolic products (BOURDIEU,1993(BOURDIEU, , 2005. In the framework of the present study, it seems important to denote the opinion of Mitchell -the author of the term pictorial turn -a picture is not a text, and it cannot be analyzed as a text, that is, semiotic and In the framework of thepresent study, the most interesting are the works that highlight the manifestations of the trend of information visualization in modern media and mass media. Those are researches by Gorbacheva (2015), Svitich (2016), Tulupov (2015) and Shevchenko (2014). Shevchenko (2014). The author's typology is implemented on the basis of the print media (as an example). Svitich (2016, p.3) believes that for the print media it is enough to distinguish three groups of illustration -photos, graphics and infographics. The present study denotes that both of these typologies require adjustment and refinement, since subtypes can be distinguished within each group. For example, a photo is a photo note, a photo portrait, a photo report (TULUPOV, 2015, p. 140). The typology proposed by Shevchenko suggests a more extensive list of types of visualization of media content due to the inclusion of many subspecies of visual messages. However, it also requires to be improved, to be supplemented with those types and forms of visualization that appear within the online technologies development.
The present study considers visual formats in the media a tool to transmit information in a concise form (this is especially true for subject areas that are difficult to understand in verbal representations), to cut off unnecessary information, and to retain media attention for a long time. The author of the present study agrees with Shevchenko, who claims that "one can visualize a certain territory, a portrait of a person, manual for a TV settings, a plane crash, the political situation, sports achievements, a cooking recipe -absolutely all kind of data" (SHEVCHENKO, 2014). It of visual content. Infographics is gaining more and more popularity. Infographics is a dynamically developing visualization tool that, several years ago, went through its peak of popularity in the media sphere. Infographics is considered in the present study as a combination of text and images created implementing design graphics in order to translate any meanings. Infographics as a product of the corporate work of a designer and a journalist is a "valuable social currency", aesthetically attractive, information-intensive, and catchy. Modern infographics can be presented not only online in the traditional static form, but also in an interactive format that allows a consumer to control the display of data.
Considering the topic of infographics and infographic content, it is necessary to single out the studies of such authors as Frolova (2015) and Zitzer (2014). Especially worth noting the authors of PhD thesis such as Cairo (2013)  The famous Spanish infographic designer, Professor Cairo, considers infographics as a "functional art." He emphasizes its applied purpose, which is to structure information for a comfortable reading (CAIRO, 2013). Following them, other contemporary researchers believe that the generally accepted term infographics cannot incorporate all modern technologies for presenting information due to the broadest possibilities of media content tools. They suggest introducing a new term.
That is media infographics. Laikova (2015) understands media infographics as a kind of "synthetic form of organizing media content", which is a special creolized text Considering infographics as a media language, the present study denotes that it (infographics) allows to present the result of these actions visually, expressively, convincingly, therefore, the issue of the aesthetic component of this type of media text deserves special attention.
The reasons for the demand and effectiveness of infographics are explained primarily by its generic property: it is able to attract attention to big data that is visualized, systematized and personalized. All these determine the journalism of the media text type. Infographics possesses the ability to present the place of data in the recipient's mental space, allows to define infographics as the most personalized product of design creativity. Personalization at the same time manifests itself at all levels of the media text. These are the principles of information selection, a system of verbal means and design.

Media aesthetic component of communication and its manifestation in infographic content
No less important is the fact that practically inexhaustible intellectual and artistic possibilities are so necessary and in demand precisely in journalistic discourse.
Accordingly, the potential of infographics can be revealed only in journalism and more widely in the communication media, since in the entire information and communication space it possesses both the right and the tools to interpret facts, to provide them with emotional coloring, different interpretations, perceptions, etc.
The popularity of infographics in modern content [1] proves that this is one of most effective information tools that refutes the prevailing thesis that graphics is necessary only by non-thinking readers, and that quantitative statistical information is "boring" (NIKULOVA; PODOBNYKH, 2010). The case study method reveals the idea by analyzing particular media content units in detail.
As an example, Mendeleev -Peter the Great ... and other flights that may appear in the Russian sky is considered from the point of view of the infographic content analyses [2] of the site TASS. Infographics [3].
Not only the visual presentation of digital material, but also its emotional aspect: how clearly, originally, artistically and expressive the author explains the events are analyzed.
This content is a response to one of the topics actively discussed at the time in Russia. It deals with the renaming of airports. It contains static and moving elements.
Many of the elements are tailored to the airports concepts: flying airplanes, information desks, luggage carts. That gives the effect of constant movement, which corresponds to the atmosphere of the airport. That is constant dynamics. Infographics is presented in quite bright colors. The main are white, red, blue and orange. These bright, sunny, positive colors are very pleasant for perception. The greatest effect is achieved through technical means, in particular, due to moving illustrations that carry a deep meaning.
Thus, the infographic language allowed to create a unique media production, which is, firstly, logical at the level of composition, secondly, interesting -at the level of plot and means of expression, and, thirdly, expressive -at the level of design.
The sufficiently revealed above properties of infographics -the ability to attract attention to big data through visualization, systematization, and personalizationare manifested in the media unit Three Charts about Anna Akhmatova [4]. Secondly, The Language of Anna Akhmatova poetry, described by the vocabulary usage statistics of two main poems Rekviem (Requiem) and Poema bez geroiya (Poem without a hero). Big data is presented as interactive graphic images in which a journalistic image is created by a variety of means (verbal, iconic), but it is the design, and, above all, the color scheme that provide emotional contact between the addresser and the addressee. The infographics (At Great Cost -At Great Blood) [5]  colors establishment in the format of a confidential conversation, schematic sketches and graphs make information accessible and emotionally expressive.
The infographic of Pozhar v sobore Parizhskoiy Bogomateri (Fire in the Notre-Dame de Paris) is released very quickly (in a few hours) [6]. an infographic includes a dramatic screensaver in the form of black and red graphics depicting a fire and two