Analysis of the scientific research and study of publications have proven that the problem of cultural code in its links to art and its transformations based on poster material is yet awaiting for a throughout research in separate scientific work. Most of the researchers of cultural code and posters used tools provided by their main disciplines in spite of the fact that today it is possible to cover a social or art phenomenon only considering its multicultural, multidisciplinary nature and using scientific synthesis. Scientific information regarding cultural code from different spheres of humanities required so much needed systematization and generalization, working out mechanisms of its research as the one of the main socio-cultural factors, that has been conducted. Meaning of the "cultural code" concept has been defined in the context of its usage within the art studies, including the throughout research of the passionary socio-cultural changes, the last of which for Ukraine was the Revolution of Dignity. The phenomenon of "zhlob-art" has been coined and introduced into scientific circulation, as well as the specification of its role in formation of the contemporary cultural code, its Europeanization and modernization. The author highlighted worldwide cultural context for the process of sociopolitical poster formation on Ukrainian grounds. By comparing the functioning of reproduced graphics in Ukraine and worldwide it is shown that cultural reality of Ukraine is based first of all on European values, as the European historical, cultural and political events since long ago have affected Ukrainian socio-cultural field. The process of poster formation is tracked from its most ancient forms to contemporary ones, as well as the special features of its historically determined role in society development towards modernity are shown: i. e. establishment of the cultural code of civil society that is based on freedom, dignity, awareness, active participation of each and every individual in various spheres of its activity, justice, responsibility, meaning universal values in general. The author investigates the process of functioning of the Revolution of Dignity poster as the separate artistic phenomenon that provided timely and detailed reflection of the socio-cultural transformations that mirrored the change of cultural codes on Ukrainian grounds. The study introduces a posters' typology of the time according to the mission and objectives of the research (by artistic means; by the types of functioning; by media; by areas of circulation). On the basis of this typology the generalization of the posters' role in the course of revolution, its aims, the means of artistic and content expressiveness has been worked out. The study tracks the cultural and historical grounds of the zhlob-art emergence - as the motivational outburst of contemporary kitsch, as well as its cultural basis. The collection of zhlob-art works is researched as the original and unique way to protest against art officialism, post-Soviet social prejudice and superstitions that should be long gone along with the Soviet system, however they adapted themselves to the new Ukrainian reality and survived. The study shows, how zhlob-art played one of the key roles in forming the winds of revolution that eventually caused the Revolution of Dignity. It is also stated that zhlob-art was not only extensively used as a model of revolutionary poster but turned out to be one of the most prominent trends of contemporary Ukrainian art, including politically-themed art. The research highlights mechanisms of zhlob-artists' acidulous satire on the surrounding cultural and everyday reality and focuses on the posters by the key figures of zhlob-art (Ivan Semesiuk, Olexa Mann, Andriy Yermolenko, Serhiy Kolyada), on the activities of the subcultural cells, founded by them, that eventually overcame the limitations of zhlobart and became platforms for the newest cultural changes. The study shows differences between the Revolution of Dignity posters and posters from previous passionary perturbations: the Revolution on Granite, "Ukraine without Kuchma" movement and the Orange Revolution. Research of the poster art of the Soviet times has proven it to be completely regulated and subcultural protest movements to be mostly marginal, unknown by the majority of society. It is noted that from the present perspective these protest movement could be considered as the mainstream and culture-forming. Influence of these protest movements' heritage on the forming of contemporary cultural code is shown. After the study of graphic material of the poster artists (being mainly the cultural elite themselves) the course of the Revolution of Dignity becomes much clearer than solely from official sources. It is discovered that interrelations of art and technology determine the specifics of interactions between art and science hereupon not only new technologies but artistic trends emerge as well. The results of such interaction are characterized; the features of the newest forms and means of presenting information in contemporary world are highlighted, making poster an integral part of the various trends of contemporary synthetic art: performance, happening, video-art, installations, interactive projections etc. Poster is proven to be an important social institution representing cultural code and poster art - one of the main means of contemporary artist to set up a dialogue with society. Is it stressed that reproduced graphics as an artistic mean of representing cultural code not only became one of the key factors of the newest cultural changes, but merged with other art genres to form an integrated artistic, semantic and philosophical space that eventually allows to draw a conclusion about its uniqueness in the studied processes.
