Abstract: The subject of the study is the folklore traditions that existed on the territory of the Novgorod region. Veliky Novgorod is an ancient city that played one of the main roles during the formation of Russian culture and art. Various forms and types of folklore developed on his lands, which had a huge impact on the development of folk music in the Russian North, the Urals and Siberia. The objectives of the article include: clarifying the nature of the relationship between the modern administrative borders of the Novgorod region and local folklore traditions spread on its territory; clarifying the areas of these traditions, taking into account the border areas; highlighting the territory of the spread of folklore traditions representing the Novgorod folklore system proper. The methodology of the work is based on the principles of systematic study of folklore, which have developed in Russian science. One of the leading methods is the areal research method. The allocation of musical and folklore areas is carried out taking into account historical and ethnographic factors. The characteristic of local traditions is given on the basis of the genre composition of musical folklore, its stylistic and structural properties. The article establishes the boundaries of the concept of "Novgorod folklore traditions". It can be applied to the folklore and ethnographic system that developed in the settlement zone of the Ilmen Slovene tribe in the early period of Russian history. There are three folklore and ethnographic complexes on the territory of the modern Novgorod region – southwestern, central and eastern. The Novgorod traditions themselves were formed in Priilmenye, but they were most systematically preserved in the eastern part of the region, which was mastered by immigrants from the central zone.

Keywords: russian folklore, The culture of crying, Novgorod folklore, folklore traditions, Russian folk music, folk songs, melogeographic studies, North-West of Russia, Novgorod region, The culture of laughter

Abstract: Indigenous cultures around the world face unprecedented challenges and are often in danger of extinction. The preservation of the cultural heritage of these peoples is an important task not only for themselves, but also for all mankind. These cultures possess valuable knowledge and traditions that have developed over the millennia and open unique prospects for the development of the world. The loss of indigenous knowledge and practices is an irreparable loss for all of us, as we are losing part of the cultural heritage of all mankind. The indigenous peoples of Panama have a rich cultural heritage deeply rooted in their traditions and beliefs. The Guna people living in Panama and Colombia represent one of the most sovereign indigenous communities in the world, with extensive land holdings and self-government rights. They are known for their colorful traditional clothes, intricate manners, beliefs, and strong sense of community. The relevance of the topic is since in a world that is becoming increasingly homogenized, the preservation of indigenous cultures ensures that this cultural diversity will not be lost due to the impact of globalization. This article is devoted to the problems of preserving the material and spiritual heritage of the Guna people living in Panama and Colombia. The lifestyle of the Guna Indians, their traditions, worldview and definition of the role of man in the world are unique and of great interest for research. The authors of the article analyze the distinctive features of the Guna cultural heritage and highlight current phenomena and processes that pose a threat to the preservation of the traditional way of life of this people. Understanding the history and traditions of the indigenous Guna people is essential to preserve their culture.

Keywords: Guna Indians, migration crisis, tourism, beliefs, culture, traditions, history, autonomy, Colombia, Panama

Abstract: The aim of the study is to consider the main directions of development and application of VR technology in the creation of modern interactive art. The object of the study is modern interactive art, which includes the technology of VR as a tool capable of redefining the dynamics of interaction between the viewer, space and the artificial world. The theoretical basis is the works of such Russian and international researchers as Razlogov K.E., Brylevskaya A.A., Heim M., Osipov M.P., Vatyan A.S., Slater M. and others. The empirical scenario was fragments of animated films, cultural events and the interactive project "The Under Presents". The objectives of the study are: defining virtual reality (VR) based on various approaches to its understanding; examining the main stages of development of contemporary interactive art; studying the role of VR in interactive art as a tool capable of redefining the dynamics of interaction between the viewer, space and the artificial world, analyzing the technological foundations of VR; identifying the main directions of influence of technology on contemporary interactive art. The study used general scientific methods: analysis and synthesis, description, systematization and classification. The scientific novelty of this study lies in the analysis of modern technologies used in artistic creativity and their influence on the artistic component of works. The obtained results allow us to state that the study of the potential of modern technologies in the field of creating works of art is of undoubted theoretical and practical art historical interest and can serve as a source of further research. The results of this study can be used to develop new software and methodological materials for teaching students.

Keywords: interactive projects, interactive exhibitions, neural networks, generative art, technological art, immersiveness, aesthetics and design, interactive technologies, virtual reality, interactive art

Abstract: This article discusses strategies for promoting the Persian language as the official language of Iran and in intercultural communications, including in dialogue with Russia. Iran, correctly estimating the potential capabilities of the Persian language and its popularity among the countries of the Nowruz region, pursues a special language policy. Neighborhood and friendly relations with Russia force Iran to take this factor into account when developing a strategy for popularizing the Persian language as one of the components of cultural policy. The object of the study are the rationales and principles of Iranian state cultural policy. The subject of the study are the prospects for cultural interaction in the context of the interests of the Russian Federation and Iran in the field of expanding linguistic cooperation. Using the comparative method it was possible to track the Russian and Iranian approaches to culture by studying the fundamental documents of Tehran and Moscow and identify the prospects for humanitarian cooperation. The scientific novelty of the study lies in the fact that similar principles of the state cultural policy of both countries in the language sphere have been identified, which makes it possible to build constructive intercultural communication and avoid misunderstandings and disagreements in the relations between the two countries. The emphasis of the authorities of both Russia and Iran on the importance of language as one of the most important factors in the implementation of “soft power” in cultural diplomacy and their efforts to strengthen and promote the national language of their country among the peoples of other countries positively affects the development of all spheres of cooperation, including cultural, economic and military between the two states, which guarantees the realization of the national interests of the two countries in the region.

Keywords: Saadi Foundation, Russian World, soft power, Russian language, Persian language, language policy, Russia, Iran, Cultural dialogue, Education

Abstract: The article examines changes in the coloristic of Chinese painting during the Tang, Song, and Yuan dynasties, highlighting the influence of these dynastic shifts on the development of the painting palette. The focus of the research is on the tools used to study the coloristic of Chinese painting throughout its historical evolution, specifically during the Tang, Song, and Yuan periods. A significant connection exists between the subject and object of the study, evident in the transition from color to ink in Chinese painting. The study aims to explore the evolution of coloristic in these three periods and identify their main characteristics. Initially, the prehistoric palette was limited to five primary colors. However, with the rise of the Wei and Jin dynasties and the influence of Buddhist art, the palette expanded, impacting techniques such as Qinliu. The Tang dynasty represented the pinnacle of color usage, while the Song period shifted focus toward mascara and brushstroke variations. In contrast, the Yuan period showcased a refined application of mascara, favoring subtle shades over bright colors. Research methods include historical periodization and art historical attribution to analyze color scheme changes from the 7th to the 14th centuries. The scientific novelty of this research adds to theoretical frameworks regarding color use in Chinese art. Each era contributed uniquely to the development of fine art, with constant evolution in color schemes during the Tang, Song, and Yuan dynasties. The subsequent Ming and Qing dynasties emphasized black, reflecting inner emotions and signifying a shift from floral colors to ink. This transition correlates with political, economic, and cultural transformations, as well as philosophical influences. The findings have both theoretical and practical significance, applicable in educational contexts and future research.

Keywords: evolution, artists, tones, palette, color, ink, Tang Song, Chinese painting, color scheme, painting techniques

Abstract: The subject of the article is the study of the influence of modern technologies on the process of creating animated content. The author discusses such aspects as the introduction of software tools for animation, the use of motion capture technologies, as well as the role of neural networks and artificial intelligence in the animation industry. Special attention is paid to how these innovations change professional roles, reduce the complexity of the process and open up new opportunities for creativity, as well as related challenges in the field of quality and originality of animated content. The analysis covers two key areas: the technical capabilities of neural network tools and the formation of new aesthetic solutions as a result of the interaction of traditional animation with artificial intelligence. The problem is that although artificial intelligence technologies contribute to the process of accelerating animation creation and significantly expand creative boundaries, giving artists the opportunity to experiment with new styles and techniques, the issue of maintaining creative control on the part of artists, as well as copyright issues, remains acute. The work uses a set of general scientific (comparison, analysis, generalization, typology) and special methods (visual-iconic, artistic-evaluative, critical) and presents empirical material on various practices of using neural network tools in animation art. In general, the article highlights the significant impact of modern technologies on the animation industry and the need to adapt professional skills and educational approaches to these changes. The author's special contribution concerns the analysis of the aesthetic features and capabilities of neural network technologies in creating animation is based on original animation material.

Keywords: new technologies, neural network animation, animation creativity, animation technologies, the aesthetics of an animated film, computer graphics, computer animation, artificial intelligence, neural networks, visual effects

Abstract: The subject of the study is the representation of Russians and Russia in the influential and extremely important for the development of American television series "The Sopranos Clan" (The Sopranos, 1997–2005), taking into account both the ways of presenting information embedded in the media text and the ambiguity of interpretations of this information. The series' innovation in the representation of Russian characters is proved: These are heroes whose behavior and actions are largely determined by the Soviet/Russian past; they are not just present in the story space, but their actions (and worldview) influence the fate of the main characters. The stereotypes used in the representation of Russian characters and the motivation for this use are considered. The presence of Russian characters in the series about the life of Americans at the end of the 20th century is a marker of significant socio-political processes: migration from the territory of the former Soviet Union, the complication of migration flows to the United States, the crisis of American identity.  An interdisciplinary study examining the work of mass culture in the context of socio-political history of the late XX – early XXI centuries. The research methodology is based on an integrated approach to the analysis of media products, generalizing the methodology of such research branches as cultural studies, political history, and art criticism. The work also uses methods of system analysis, comparative analysis, and factor analysis. Russian Russian presence The novelty of the research lies both in the comprehensive identification of the main "Russian presence" in the series (based on the analysis of the first four seasons of the series, that is, 52 episodes), and in the identification of the main topics related to the "Russian presence" (including cultural specifics), their interpretation by the characters of the series, the authors and external commentators. The authors of the series address the topics of migration, xenophobia, intercultural communication, etc. based on the material of the "Russian segment" of the series. Using the example of "Russian" characters and storylines, a fundamentally deeper level of disclosure of the psychological and social background of the characters is proved as one of the reasons for the general innovation of the "Soprano Clan" in the context of the development of modern television/genre cinema. A direct parallel is drawn between the personal qualities of the Russian characters and the "strong silent ideal", the search for which is obsessed with the main character of the series, who has largely lost ties with his historical homeland. Cultural stereotypes associated with Russians have been identified, and some theses found in American literature have been challenged.

Keywords: cold war, collapse ot the USSR, woman in immigration, russian organised crime, cultural stereotypes, immigration, TV series, mass culture, The Sopranos, TV

Abstract: The object of this study is the "new wave" – the current in French cinema from the 1950s to the 1960s. The subject of the study is the work of directors of the "French new wave": Francois Truffaut, Jean-Luc Godard, Agnes Varda, etc. French directors appreciated the work of R. Rossellini, who was influenced by cinema-verite, that is, the experience of Russian avant-gardists, in particular D. Vertov. In addition, the figures of the "French new wave" revive the traditions of the German expressionists in the field of light and shadow, in which the merit of the cameramen Gianni di Venanzo and Raoul Coutard is great. French directors called for filming outside the pavilions, on location, to show the real life of people. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films "Alphaville" by J. L. Godard and "Fahrenheit 451" by F. Truffaut. This study uses an integrated approach combining phenomenological, comparative, and philosophical methods in their compatibility and complementarity. The purpose of this study is to consider the space created by directors. The scientific novelty of this study lies in the juxtaposition of the real and the fantastic in films directed by the "French new wave" (using the example of films by J. –L. Godard and F. Truffaut). The directors of the "French new wave" urged not to shoot in pavilions, appreciated full-scale shooting, and used a hand-held camera. Along with depicting the lives of ordinary people, some representatives of the "new wave" turn to fantastic reality, which was most clearly manifested in the films Alphaville by J. L. Godard and Fahrenheit 451 by F. Truffaut. The main conclusion of this study is the thesis that the real and the fantastic interact with each other. The image of fantastic reality reflects the global problems of our time.

Keywords: Marshall McLuhan, Dziga Vertov, Ray Bradbury, Vittorio Storaro, Gilles Deleuze, Agnès Varda, Jean-Luc Godard, François Truffaut, French new wave, Roberto Rossellini

Abstract: The relevance of the research is justified by the need to develop the bodily self-awareness of future designers. The problem of the study lies in the somewhat simplified perception of bodily experience by Western designers, since in the West the development of conceptual thinking is a priority. In the course of the research, the author hypothesizes that practicing Oriental calligraphy can contribute to the development of designers' bodily self-awareness, since calligraphy is a product of "somatic-oriented" thinking rooted in the Eastern tradition. The author of the study considers "somatic-oriented" design in the context of an environmental approach, but suggests moving from the opposition of man and environment rooted in the West to understanding their relations as mutually generating and even "one-body". The author analyzes the first attempts to develop "somatic-oriented" propaedeutics at the Bauhaus and comes to the conclusion that relying on the bodily experience of the teachers of the basic course served purely theoretical tasks, which ultimately demonstrated the priority of conceptual thinking over thinking "somatic-oriented". The eastern avant-garde calligraphers have been moving in the opposite direction, moving from the linguistic meaning of the sign to its "embodied" meaning content. Since they rely primarily on bodily consciousness, space in calligraphy symbolizes a single world "body" (while space in European painting is, to a large extent, the space of linear movement of the mind). The empty space of a calligraphic work is filled with sensations and embodied meanings. The author of the study concludes that, propaedeutically, attention to this empty space can allow a designer to start thinking by the way, when the designer "sees" a new object where it does not exist yet, but where it cannot but be – that is, where its appearance seems absolutely natural.

Keywords: somatic-oriented design, somatic-oriented thinking, environmental approach, Zibin Dun, Yukei Teshima, avant-garde calligraphy, basic course, propaedeutics, Naoto Fukasawa, concept of Embodiment

Abstract: The subject of the study is the analysis of the synthetic genre of the river-novel in its specificity – in a polemic with a modern expanded understanding of the genre, erasing its originality. The aim of the work is also the cultural and philosophical actualization of the novel – in a polemic with its traditional social reading. The signs of the river-novel are highlighted and the synthetics of the genre is emphasized. It is noted that the novel is based on the unity of the world of the author and the hero and their dialogue. The main theme of the novel is analyzed – the disclosure of the creative perception of the world in its independence, openness to the world and constant changes, the connection of the main theme with two leitmotifs of the novel is shown – the ability to hear world music and the God-humanity of genius. Christoph's worldview is defined as pantheism: the mystery of unity is revealed to Christoph, linking him with the era of early German Romanticism. The main method of research is the structural analysis of the text, the main themes, motifs, and mythologies. It is emphasized that the epic of Rolland is the final work for the New European culture, the creators of which were the titans, the creators of great art. It is noted that the river-novel is based on the romantic tradition and expresses the spirit of a new idealism characteristic of the era of the turn of the XIX–XX centuries. The polemic of the novel, addressed to the life of the modern soul, is polemic to the theme of the decline of the West and the growing signs of the great war of peoples – on the eve of the First World War. It is noted that one of the facets of the river-novel with its belief in the power of creativity is the utopia of the international brotherhood of creative souls (close to the ideas of G. Hesse). It is emphasized that the pathos of the unity of the most important mental traditions of Europe permeates the entire novel – such is the music of Christophe, combining "German fantasy and the clear clarity of the Latin mind." The disclosure of the cultural and philosophical meanings of the novel and the specifics of the genre of the river novel constitute the novelty of scientific research. The conclusion is made about the synthetics of the river-novel genre: a myth novel, a utopia novel, a warning novel, an alternative history novel. The research opens up the possibility for further, more detailed comparison of the religion of creativity underlying the novel with the philosophical ideas of the twentieth century: A. Bergson's "Creative Impulse", N. A. Berdyaev's "Philosophy of Creativity", L. N. Gumilev's theory of passionarity, as well as the analysis of the novel in the Russian artistic context.

Keywords: Brotherhood of creative souls, dialogue of cultural worlds, changing of souls, unity, The musical essence of the world, The God-humanity of genius, creative perception of the world, the mythologeme of life, life force, novel-river

Abstract: The creative legacy of the outstanding organologist, musician, conductor, artist and cultural figure Georgy Ivanovich Blagodatov (1904–1982) outlined the activities of the Organology sector of the Russian Institute for the History of the Arts and its scientific forums in the field of organology, caused a response in a number of reports and events of the XV International Organology Congress "Blagodatov Readings" held in November 2024, and also allowed to recall the scientific works and achievements of the scientist, his contribution to the formation and development of the St. Petersburg school of organology. Headed by I.V. Matsievsky, a leading Eurasian organologist, Doctor of Art History, professor, academician of the Russian Academy of Sciences and International Academy of Informatization, the forum has become a center of attraction for the best organologists from different regions of Russia and abroad, as well as young novice researchers of musical instruments and instrumental music over its more than 30-year history. The most important achievement of the St. Petersburg School of Organology is the development of an advanced methodology for the study of musical instruments and instrumental music. The systemic ethnophonic method, developed by I.V. Matsievsky based on the experience of studying various regional and ethnic instrumental traditions, is fruitfully applied throughout the Eurasian continent and beyond, which was confirmed at the 15th Congress. The article highlights the scientific issues of the XV International Organology Congress "Blagodatov Readings", dedicated to the 120th anniversary of the birth of G.I. Blagodatov, touches on the history of this scientific forum and its organizer, the Organology Department of the Russian Institute for the History of the Arts. Scientific directions are being formed at organology forums, a methodology for studying musical instruments and instrumental music is being developed, issues of preserving and reviving musical instrumental traditions are being raised, new scientific ideas are being tested that have access to creative practice. The 15th Congress became the focus of such scientific areas of organology as ethnoorganology, campanology, instruments of academic musical culture, historical organology, reconstruction of musical instruments, musical museology, musical archaeology and anthropology, and also witnessed the emergence of such a trend as musical architecture.

Keywords: organology congress, Ihor Macijewski, the system-ethnophonic method, history of the symphony orchestra, Blagodatov Readings, Russian accordion, St. Petersburg organology school, Organology Department of RIHA, Georgy Blagodatov, the musical instruments