Alice's Tales: the transformation of the composition, fairy-tale formulas and contexts of the voice assistant in the skill "Let's come up with"

Zhikulina Christina Petrovna ORCID: 0000-0003-2488-4616 Postgraduate, Department of General and Russian Linguistics, Peoples' Friendship University of Russia named after Patrice Lumumba 117198, Russia, Moscow region, Moscow, Miklukho-Maklaya str., 6, department, Miklukho-Maklaya, 12 christina.zhikulina@gmail.com Other publications by this author

1. Introduction

Communication tools today help to translate meanings, values and traditions into the public consciousness – to spread them to the masses. In the Internet space, such tools have certain specifics that distinguish them from classical methods of communication. This specificity is due to the high level of trust and the quality of multimedia, the scaling of territoriality, the increasing importance of content and user ratings of any type of material ^{[3, p. 11]}.

The word of the year, according to the portal "Literacy.", became a neural network: "The choice of the word 2023 was made on the basis of several criteria: data analysis, query frequency, expert assessment" ^[10]. In the rating voting, the neural network scored more than 75% of the votes. The experts of the portal emphasize that the use of this word always correlates with the side of artificial intelligence that interacts with people. In the household sphere, the neural network is perceived by users as a kind of "living being" capable of communicating, learning and practicing the acquired skills. In the same rating, the word gypity/GPT won 58% of the votes [ibid.]. In an article dedicated to the "Word of the Year" on the website of the RBC holding, authors Mikhail Dobrunov and Victoria Khabarovsk describe jeepity as "an integral part of the name of ChatGTP, the most famous artificial intelligence system" ^[6]. From a linguistic point of view, the jeep is not just an integral part, but a bridge between two consciousnesses: human and artificial; a virtual tunnel through which data and information are exchanged from a machine to a person, and vice versa. It is important to note that the Alice voice assistant investigated in the article from Yandex also uses the YandexGPT 2 system: in the middle of 2023, the developers announced that it is now possible to solve different tasks within a single dialog without distortion or loss of context.

To date, Alice's voice assistant already includes such skills as "Communication" (sections "Let's chat" and "What are you thinking about?"), "Have fun" (sections "Tell a tongue twister" and "Tell a joke"), "Just talk" (sections "How are you?" and "Let's talk") and the most interesting skill that appeared in the spring of 2023 is "Let's come up with it." On the Yandex Dialogues portal, it is described as follows: "Alice helps to come up with ideas, texts on various topics and much more. Ask her to write congratulations to her grandmother, come up with a name for a cat or an idea for a startup – and see what happens."^[5] Within the scope of the possibilities presented in this skill, let's consider in detail the command "Alice, let's come up with a fairy tale."

What is a fairy tale? First of all, it plays an important role in the lives of children. Fairy tales help to develop the imagination, distinguish between good and evil, build logical chains, make choices in difficult situations. Some psychologists believe that fairy tales are useful not only for children, but also for adults, and therefore the method of fairy tale therapy has become widespread. In his methodological guide, the scientist and head of the Psychological Center E.M. Barabash defines fairy tale therapy as "a young, modern and promising field of practical psychology, which, using the metaphorical resources of a fairy tale, allows people to develop self-awareness" ^{[2, p. 3]}.

However, for a modern person, just reading a fairy tale has become insufficient. On the official website of the Labyrinth bookstore, you can find the following tips for readers: reading should be interactive, you need to play elements of fairy tales, not be afraid to change storylines and come up with new details ^[8]. Today, the development of digital technologies allows anyone to be a storyteller, create a story unlike anything else, voice the text, invent characters, and do all this in interactive online mode. The idea of the interactivity of fairy tales has become available to all Russian-speaking users in the verbal-virtual world of Alice's voice assistant with the skill "Let's come up with it".

The above determines the relevance of the study, the subject of which is a spontaneously generated text by Alice's voice assistant when creating a fairy tale together with the user, and the object is the transformation of the structure, fairy–tale formulas and context in terms of the selection of linguistic elements and meanings using artificial intelligence technology.

The scientific novelty lies in the fact that the level of speech-making potential and the use of folklore formulas when creating fairy tales in the voice assistant Alice is being investigated for the first time, as well as the structure of creating a fairy tale, since the skill "Let's come up with" appeared in its modification relatively recently.

The purpose of this study is to describe possible structural and linguistic transformations in the voice assistant Alice when creating a fairy tale together with the user and to determine its speech-making potential at the moment.

To achieve this goal, it is necessary to solve the following tasks:

1) identify and analyze the space-time relationship (as a separate type of fairy-tale formulas) according to the selection of characters and actions in the plot of the fairy tale;

2) determine the place of fairy-tale formulas in Alice's fairy tales, as well as analyze the possibilities of AI in generating text without distortion or loss of context;

3) compare the structure of the spontaneously generated text of the Alice voice assistant with the structure of a traditional fairy tale;

4) develop a guide to the structure of a spontaneously generated fairy tale in the "Let's come up with" skill.

The study involved the integrated use of such methods as continuous sampling, comparative and contextual analyses.

The theoretical significance of the study lies in the fact that the observations and conclusions obtained after analyzing the language material expand theoretical information about the ways of creating and selecting language units by artificial intelligence; the corpora used by voice assistants in generating fairy tale texts, as well as the possibility of developing a new approach to creating fairy tales for the modern generation (using digital technologies and interactive).

The practical significance of the research lies in the fact that the materials and results obtained can be used for lectures and seminars on courses in the fields of "Computational Linguistics" and "Applied Digital Philology"; for courses on natural language processing in the field of "Machine Learning", as well as in various workshops and seminars both online and offline dedicated to the development of neural networks in Russia.

The material for the analysis was a spontaneously generated text of a fairy tale by Alice's voice assistant and a user during a linguistic experiment. The text of the fairy tale can be found both in the main part of this study and at the link indicated in the bibliography.

The theoretical basis of the research was the works of domestic and foreign scientists who described the "heroes of a fairy tale" (Meletinsky, 2005); defined the "traditional formulas of a fairy tale" (Roshianu, 1974; Gerasimova, 2012) and "stylistic rites of the Russian fairy tale" (Razumova, 1991); systematized and classified fairy tales (Aarne, 1961); who conducted fundamental research and analysis of the "chronotope of the Russian literary fairy tale" (Zvorygina, 2020); created and refined the methodology of "fairy tale therapy" (Barabash, 2022); defined the fairy tale as "modernity" (Azadovsky, 1932), "the fire of children's thought and speech" (Chelpachenko, Alyoshina, 2018), the development of fantasy (Ruban, 2023); who analyzed the role of "Internet communication in the global space" (Volodenkov, 2015); who investigated "the oddities of artificial intelligence" (Shane, 2019).

2. The main part

In order to explore the structure of a fairy tale, fairy-tale formulas and chronotope, it is necessary first to define a fairy tale. There is still ambiguity in the scientific world, and many scientists disagree. In this study, we will focus on those definitions that include concepts such as childhood, thought, pleasure, fantasy and modernity.

For example, in the didactic system of the scientist and teacher-innovator V.A. Sukhomlinsky, a fairy tale is "a fresh wind that blows up the fire of children's thought and speech. The fairy-tale word constantly lives in the mind of a growing person" ^{[18, p. 34]}. But the founder of the research school of theoretical folklore, E.M. Meletinsky, points out that the fairy tale is the oldest kind of "verbal art", which is rooted in the "folk art of the pre–class era" and to this day remains a human companion in the artistic world, bringing true pleasure ^{[9, p. 3]}. L.M. Ruban in his The author emphasizes that "a fairy tale is a space for fantasies in which the child compensates for the lack of action in real life" ^{[21, p. 300]}. The idea of the Soviet and Russian literary critic K.M. Azadovsky remains relevant, which consists in the fact that historical and social discourses strongly influence the texts of the compilers of fairy tales, therefore "a fairy tale is by no means archaic, but firmly and firmly connected with all the processes of life and modernity" ^{[1, p. 80]}.

Combining all the above definitions, we take the following as the basis of the study: a fairy tale today is a multi–level system that includes modernity, but does not exclude "creativity of the pre-class era"; uses fairy-tale formulas and adheres to the canons of folklore; develops children's thought and speech, but also helps adults "compensate for the lack of action in real life."

2.1 The space-time continuum in Alice's Tales

Since the linguistic phenomena that arise in fairy tales are wide, and the issues of determining the formulas of fairy tales have not been sufficiently resolved ^{[12, p. 14]}, only some of them will be used for comparative analysis in the article.

In the book "Pragmatics of the Text: folklore, literature, culture", N.M. Gerasimova first identifies formulas that characterize its spatial-temporal relations – chronotope, and "boundary formulas that mark either the beginning and end of a fairy tale, or the beginning (and at the same time the end) of its individual segments" ^{[4, p. 73]}, N.M. Gerasimova also notes that the formulas of the saying, the beginning, the ending "not only affirm the categories of the fairy-tale world, but also relate it to the real world, the process of the story, introducing the audience to the action of the fairy tale" [ibid.].

The principle of building a fairy tale in Alice's "Let's come up with" skill is quite simple: the voice assistant offers characters to choose from for the future plot, after which the method of a question-and-answer form with the user is applied.

First, let's look at the most popular options for choosing heroes: "Kikimora or Dunno", "Steam Train or Iron Man", "Snow White or Moose", "Aladdin or Little Red Riding Hood", "Elsa or Matroskin", "Pony or Cheburashka", "Rapunzel or Hermione Granger".

It can be assumed that the development of the further plot in a spontaneously generated fairy tale will not always be oriented towards the canons of traditional Russian fairy tales. To do this, it is worth referring to the sources from which artificial intelligence selects possible options for the user:

The foreign segment

(1) Snow White and Rapunzel (1812) – the heroines of the German fairy tales of the same name by the Brothers Grimm (original versions) and characters from American animated films (adaptation) by Disney "Snow White and the Seven Dwarfs" (1937) and "Rapunzel: A Tangled Story" (2010);

(2) Aladdin is a hero from the collection of Middle Eastern folk tales "One Thousand and One Nights" (1835) in Arabic (original version) and a character in the American animated film of the same name (adaptation) by Disney "Aladdin" (1992) and the animated series (1994); the musical film of the same name (adaptation), shot jointly with the UK and Australia (2019).

(3) Elsa is not the heroine of a fairy tale, but the main character of the Disney animated film "Cold Heart" (2013) and its sequels (2019);

(4) Little Red Riding Hood is the heroine of the eponymous European folk tale (original version) by Charles Perrault, published in the collection "Tales of Mother Goose" (1697); the full–length Soviet film "About Little Red Riding Hood" (1977) and the American film of the same name (2011);

(5) Iron Man (1968) is a superhero from American comic books (original version) published by Marvel Comics; animated series (adaptation) from Marvel Productions Ltd (1994); series of feature films (adaptations) from Marvel Studios Ink (2008-2013);

(6) Hermione Granger is one of the main characters of the Harry Potter series of novels (original versions) by British writer J.K. Rowling (1997-2016); a series of feature films (adaptation) about Harry Potter (2001-2011);

(7) Pony is a collective image of characters from the famous Canadian–American animated series "My Little Pony" (1992) and the remake (2010-2019).

The Russian segment

(1) Kikimora is the main character of the fairy tale of the same name by Alexei Tolstoy from the cycle "Mermaid Tales" (1910);

(2) Dunno – the literary hero of the N.N. Nosov trilogy (1953-1965) and its sequels (original versions); the Russian animated series (adaptation) "Dunno on the Moon" (1997-1999);

(3) The train – here we can make an assumption that this is a character from the animated film "The Train from Romashkovo" (1967) by the Soyuzmultfilm film studio;

(4) Losyash is one of the main characters in the animated franchise "Smeshariki" (2003-2023) of the Petersburg studio;

(5) Matroskin is one of the main characters of the fairy tale story (original version) by Eduard Uspensky "Uncle Fedor, the Dog and the Cat" (1974), as well as a series of Soviet cartoons by the Soyuzmultfilm film studio (1978, 1980, 1984) and the animated series (adaptations) Prostokvashino (2018-2023);

(6) Cheburashka is one of the main characters of the book (original version) by Eduard Uspensky "Crocodile Gena and his Friends" (1966) and its sequels, as well as a series of animated films (adaptations) by the Soyuzmultfilm film studio; Russian films (adaptations) Cheburashka (2022) and Cheburashka. Day Off" (2023); the film of the same name (adaptation), shot jointly with Japan and South Korea (2009); the Japanese cartoon of the same name (adaptation)(2013).

Fig.1. The timeline (horizontal) of sources where the voice assistant Alice borrows verities of heroes (heroines) for a future fairy tale.

Source: compiled by the author.

Based on a detailed analysis of the sources, it can be seen that out of the 14 names proposed by Alice, only 6 are heroes of fairy tales or fairy tales, while only 2 are Russians. The time tape (Fig.1) clearly shows that the chronotope in the selection affects different epochs, worlds, time continuums, artistic and media universes, traditions, values and generations. The probability that the younger generation, when creating a fairy tale with Alice, will rely on the story of the fairy–tale hero according to the adaptation, and not according to the original version, is very high. This is due to the availability and great popularity of new versions. For example, the fairy tale "Aladdin" has more than 30 interpretations not only in Arab countries, but also in Europe. And the original versions of Grimm's fairy tales are considered works for adults: few children know that all the characters in the original versions of the Brothers Grimm either die or remain crippled. In adaptations, happy endings are almost always provided and frightening facts are removed, such as: Mulan commits suicide; Quasimoda starves to death in the cemetery; Mowgli destroys the village along with all its inhabitants; Cinderella's stepsisters cut off their toes to fit into a crystal slipper ^[15].

On the one hand, such an information spread allows the storyteller to widely apply fantasy and violate time boundaries. On the other hand, already at the first step of creating a spontaneously generated fairy tale, logical confusion in time and space may arise, and the idea of the true purpose of fairy-tale content may be violated, since the proposed options include characters whose adventures have already been described in detail by other authors, therefore, the probability increases that the user will adjust the plot to them. Although numerous retellings of the same story are evidence that it is able to inspire and motivate readers or viewers to this day. In the work "The types of the folktale", the Finnish folklore researcher and plot systematizer Antti Amatus Aarne classified and distributed fairy tales in his index, based on the fact that the same storyline could be the basis for fairy tales of different peoples, cultures and times ^{[19, p. 5]}.

As it is known, already in the XX century, a certain pattern was seen in the use of folklore attitudes in relation, for example, to the category of time: "... in the fairy tale of the XX century, examples of deviations from the folk canons of the genre appear" ^{[7, p. 39]}. An example is the works of L.S. Petrushevskaya, who puts a fairy tale "on the border with a short story, a novel and a novel" [ibid.]. Its plots are characterized by violations of the sequence of events, temporal asymmetry, slowdown and a bid for the future.

The above allows us to conclude that folklore canons do not stand still, and deviation from them is not a new phenomenon, but a natural process peculiar to the time and realities in which the narrator lives and creates. This is a reflection of the modern reality that he observes and brings his own to it. As S.E. Tokmakova wrote in her dissertation research: "And this is no coincidence: emotion and evaluation are the result of human interaction with the surrounding reality" ^{[16, p. 4]}.

2.2 Algorithms for constructing a fairy tale for the voice assistant Alice

Let's conduct a linguistic experiment: using the "Let's invent" skill, we will create a fairy tale together with Alice (hereinafter referred to as GP Alice), divide the process of spontaneous text generation into steps, stages and actions, after which we will analyze the results obtained.

Creating a fairy tale with Alice's voice assistant:

Team

User: "Alice, let's come up with a fairy tale"

*Remark of GP Alice: "Now you and I will compose a fairy tale together! Sometimes I will ask questions: simple or with multiple answers. Be sure to answer them or come up with something of your own so that everything works out for us. When you get tired, just say, "Alice, that's enough." Let's go!"

Step 1. Start creating a fairy tale story

Act 1 – a question from GP Alice: "Who will our story be about – the Gray Wolf or the Iron Man?"

Step 2 – the user's response: "About the Gray Wolf."

*Replica of GP Alice: "It's a great idea! Let's start the tale of the Gray Wolf."

Action 3 – spontaneous generation of the first part of the text:

"In a certain kingdom, in a Goat state, there lived a Gray Wolf. To tell the truth, he was not quite gray; but when he was angry, then he turned gray—gray" ^[14].

Step 2. Continuing to create a fabulous story

· Stage 1

Action 1 – A question from GP Alice: "Who else was with the Wolf?"

Action 2 – The user's response: "His sister, Gray Wolf, was with the Wolf."

Action 3 – spontaneous generation of the second part of the text:

"The Wolf's sister, named Gray Wolf, was also very serious."^[14]

· Stage 2

Action 1 – A question from GP Alice: "What did Gray Wolf like to do: lie down or sleep?"

Step 2 – the user's response is "To hunt".

Action 3 – spontaneous generation of the third part of the text:

"She spent days lying in the woods and looking at the stars. The good sister loved to hunt in the forest" ^[14].

*Replica of GP Alice: "It turned out just like in a book! Do you want to continue to invent or send the text of the fairy tale?"

**The user's response to the completion/continuation type of remark: "Continue the story" or "Send text" / "Enough is enough"

· Stage 3

Action 1 – A question from GP Alice: "What did the Wolf say to the Gray Wolf?"

Step 2 – User's response: "There is no need to go hunting in the forest."

Action 3 – spontaneous generation of the IV part of the text:

"Brother Wolf often said to her: – Oh, sister! Don't go into the woods. Everyone is afraid of you there. – Let them be afraid of them!" ^[14].

· Stage 4

Action 1 – A question from GP Alice: "What did Gray Wolf do next?"

Action 2 – the user's response: "I went hunting in the forest and met a hunter."

Action 3 – spontaneous generation of the V part of the text:

"When she went hunting, she met a Hunter who shot an arrow at her and she had to give him the arrow. Then she met with a Bear who wanted to eat her. The bear pushed the Gray Wolf so hard with his paws that she fell down."^[14]

· Stage 5

Action 1 – A question from GP Alice: "What did Gray Wolf say to the Bear?"

Action 2 – the user's response: "She asked him, 'Why is everyone hurting her?'.

Action 3 – spontaneous generation of the VI part of the text:

"She asked the Bear why everyone was hurting him. The bear told her about everything, and then she said, "You poor brother of mine! Come with me and live in my den."^[14]

*Remark of GP Alice: "Wow, how interesting everything is going! Do you want to continue to invent or send the text of the fairy tale?"

**The user's response to the completion/continuation type of remark: "Continue the story" or "Send text" / "Enough is enough"

· Stage 6

Act 1 – a question from GP Alice: "How did they live?"

Step 2 – User's response: "They couldn't share the loot."

Action 3 – spontaneous generation of the VII part of the text:

"They were constantly fighting, and they couldn't even share the loot. In the end, Gray Wolf got angry and said, "Oh, brother Wolf!"^[14].

· Stage 7

Action 1 – A question from GP Alice: "What did Gray Wolf say to my brother?"

Action 2 – the user's response: "That he was right, that it is not necessary to go to the forest, because there are many dangers and troubles can haunt her for a long time."

Action 3 – spontaneous generation of the VIII part of the text:

"Because Brother Wolf warned me that I shouldn't go to the forest, but I didn't listen to him. The Gray Wolf saw the Wolf and said to him: "My brother! Why don't you come hunting with us? — The hunt is not going to go now. Hunting will not go now, because there are too many hunters in the forest." ^[14]

· Stage 8

Action 1 – A question from GP Alice: "What did Gray Wolf do?"

Action 2 – the user's response: "She went into the forest again and died there."

Action 3 – spontaneous generation of the IX part of the text:

"Well, let it be! I'm going hunting alone. Gray Wolf went hunting again, and met the Hunter with the Arrow again. She looked into his eyes and jumped. And then the Hunter started shooting at her, but the arrow hit her right in the heart."^[14]

*Remark of GP Alice: "We are making a great fairy tale. Do you want to continue to invent or send the text of the fairy tale?"

**The user's response to the completion/continuation type of remark: "Continue the story" or "Send text" / "That's enough."

Step 3. The end of creating a fairy tale story

Step 1 – the user's response: "Send a text".

Action 2 – GP Alice sends a link to the text.

The experiment allowed us to establish that the creation of a spontaneously generated fairy tale with Alice is divided into three steps: the beginning, the continuation and the end. In the steps and stages there are actions (from 1 to 3), and there are also * replicas of GP Alice (complete the fairy tale or continue to invent; praise the storyteller user), which appear with a certain sequence. Alice's completion/continuation replicas appear every three spontaneously generated parts of the text (Step 1, Step 2, Step 5, Step 8).

There is a separate "Team" section before the steps, it is responsible for specifying actions in the "Let's come up with" skill, since Alice can come up with more than just fairy tales. After the user commands "Alice, let's come up with a fairy tale", the voice assistant distributes the roles between the machine and the person.

2.2.1 The structure and creation of a saying and a beginning in a fairy tale

In step 1, the user must select the hero of the future fairy tale story. He can choose from the suggested options with a voice assistant (discussed in detail in paragraph 2.1) or offer his hero, who is not represented in the AI sample. In a linguistic experiment, we chose a Gray Wolf (the spelling is preserved as in the text generations of GP Alice) – the proposed hero to choose from.

In step 1, the first spontaneously generated fragment of the fairy tale appears, which, in our opinion, is responsible for creating the beginning: "In a certain kingdom, in a Goat state...". Russian Russian folk tales reveal a form of contamination in the fairy tale formula, where "In a certain kingdom ..." is part of the traditional origin of Russian folk tales, and "... in the Goat State" acts as a kind of reference to the Russian fairy tale "The Wolf and the Seven Little Goats". There is an assumption that GP Alice creates the concept of a "Goat state" and based on the fact that in other fairy-tale plots the wolf often tries to ruin "goat houses" or appears on their territory, therefore artificial intelligence defines space mainly as goat. Also, for example, in Russian proverbs and sayings, the wolf-goat pair is not uncommon: "The wolf is not a shepherd, and the goat is not a gardener", "The goat competed with the wolf, the horns remained to the hoof", "The wolf called the goat to a feast, but the goat will not go", "And it happened – and the goat of the wolf I ate it", "Take your time, goat, all your wolves will be there."

It is also appropriate to pay attention to the fact that the Internet search engines and the National Corpus of the Russian Language (NKRR) do not give out any options with the "Goat State" in the results. We deliberately pay attention to this, since it turns out that the machine creates a context on its own based on data that was not set by the user in the "Command" section.

So, we have a kingdom, a "Goat State", where the Gray Wolf lives. When generating other fairy-tale plots not presented in this work, it was revealed that under no circumstances does Alice create a fairy tale. After a hero is selected in the "Team" section, the AI immediately introduces him to the plot with "dating" and "localization". In the book "Traditional formulas of a fairy tale" by the Romanian scientist N. Roshianu, it is noted that any storyteller begins a fairy tale with the "dating" of an action and the "localization" of the same action ^{[13, p. 18]}, and it is not necessary that a saying should be present. Thus, in the spontaneous generation of step 1, violations in the fabulous formulas and the designation of time and space were not found.

2.2.2 Structure and creation of the main storyline

The development of the plot, after the creation of the beginning, only partially depends on user input data. GP Alice asks questions that do not have to be answered accurately and directly. The user can reply "out of place", and the AI will still generate text based on the available data. The problem with this approach is that machine learning in the "Let's come up with" skill is still at a primitive level, so the logic of the narrative will inevitably be violated at some of the steps/stages.

In step 2, the main work on the plot and the creation of a fairy tale takes place. With the help of GP Alice's questions and the user's direct answers, a narrative is created. However, during the experiment, it was revealed that every two stages Alice compulsively tries to introduce additional characters into the plot. So, for example, at stage 1, the question is sharply asked: "Who else was with the Wolf?" (action 1). At stage 4, the user introduces an additional Hunter hero himself (act 2), but it becomes insufficient for AI, so a Bear also appears "out of nowhere": "When she went hunting, she met a Hunter who shot her with an arrow and she had to give him the arrow. Then she met with a Bear who wanted to eat her...". Next, the situation of the hero's introduction / return is repeated exactly after two stages: at stage 6, the Gray Wolf appears again, which is introduced into the plot not by the user, but by Alice.

It is worth dwelling on the moment where an additional Bear character is introduced into the plot (stage 4, spontaneous generation of the V part of the text). This is where serious logical violations of the narrative begin, which are beyond the user's control, since they all appear in the spontaneous generation of Alice's text.

First, the Bear roughly pushes the Gray Wolf, and then she asks the question: "Why is everyone hurting him?" (stage 4, spontaneous generation of the V part of the text). Why isn't she asking about herself? A Hunter had just shot at her and knocked her down by a Bear. Then the characters decide to live together in the Wolf's den (stage 5, spontaneous generation of the VI part of the text). However, the den is a bear's habitat. Let's turn to the explanatory dictionaries of D.N. Ushakov and S.I. Ozhegov: "The den, and, zh. The winter lair of the bear" ^{[11, 17]}. Both dictionaries have the same interpretation, and one might think that the den really should refer only to the bear, but D.N. Ushakov has a second interpretation: "peren. The dwelling (razg., joke.). He's sitting in his den and doesn't want to know anyone."^[17] Then it turns out that the AI codifies the den as a kind of place where the heroes will hide from all their abusers. The Wolf's den is an asymmetry of space relative to the fabulous content, but it is not a significant distortion if the Wolf is likened to a human in the corpus representations of AI – she lives as a human, not as an animal. However, the semantic formula Bear-den-Wolf within one paragraph is incorrectly applied from the point of view of logic, since when dividing the formula into semantic pairs Bear-den and Wolf-den, we understand that the appropriate associative series is still created by the Bear-den pair. In this example, GP Alice was unable to generate a fragment without distortion or loss of context, as stated by the developers. Younger users may not pay attention to such a violation of location-semantic relations in the plot, but adult users will once again call Alice stupid and illogical.

At stage 6, in the spontaneous generation of the text, we again find problems with the logic of the narrative. The Bear and the Gray Wolf do not get along well together, they quarrel and suddenly the Wolf says to the Bear: "Oh, you, brother Wolf!". Where did the Wolf come from? It is possible to correct the logic of the narrative at stage 7, since the user's answer to Alice's question "What did Gray Wolf say to her brother?" introduces more details – a detailed description of what is happening. Now you can think of the following: while the Bear and Gray Wolf were quarreling in the den, brother Gray Wolf came, and the Wolf turned to him, interrupting the altercation with the Bear. It is important to note that this is only a possible "invention" on the part of users with a rich imagination, but it does not justify the violation of logic in stages 6-7. Here it is appropriate to conclude that the AI is not able to make leads to the replicas of the characters, or is confused in the chronology of events, since when generating a new fragment of text, it does not It relies on information from those parts of the fairy tale that have already been invented before, and does not connect them logically.

2.2.3 The structure and creation of the ending in a fairy tale with Alice

The explanation of the violation of the chronology of events is hidden in the very algorithm of creating a fairy tale in the skill "Let's come up with" GP Alice. The fact is that in step 2, after every three steps, Alice issues a * completion/continuation type replica. Most likely, when the user decides to continue the fairy tale, Alice starts generating text from a "blank sheet", tearing the previous block from the new fragment. It would be appropriate to add blocks in the scheme of actions we have created when creating a fairy tale with Alice (Fig.2).

Fig.2. The structural guide to creating a fairy tale with the voice assistant Alice.

Source: compiled by the author.

According to our proposed structural guide to creating a fairy tale, it can be seen that the section "Team", step 1, step 2 / block 1, step 3 (Fig.2, turquoise frames) will be the same for all users: the order, number of stages and actions. But the addition of additional blocks depends on the user's decision to complete or continue the fairy tale. The continuation of the fairy tale can last indefinitely. In our experiment, we stopped the plot development at block 3.

When generating a fairy tale with Alice, two types of end are determined: the first is the traditional ending in fairy tales, the second is the completion of the creation process and the conversion of the text into a file available for download via a personal link for the user. The ending will always be in the last spontaneous generation of the text in the block of step 2 (in our experiment, the ending is in block 3, stage 8, spontaneous generation of the IX part of the text). It contains the end of the conflict and the moral – Gray Wolf dies because she disobeys Gray Wolf's brother several times. The fairy-tale formula typical for the endings of traditional fairy tales is not found in our experiment. However, in other tests with the skill "Let's come up with a fairy tale", which are not presented in this work, there are two fabulous formulas (endings): "That's the end of the fairy tale, and who listened well done," "They began to live and live and make good money."

Usually there is a certain structure in fairy tales, so we have clearly shown in Table 1 how much the spontaneous generation of the text of GP Alice corresponds to the structure of a traditional fairy tale.

Table 1. Percentage of compliance: the structure of spontaneous text generation of GP Alice and the structure of a traditional fairy tale

Table 1. The percentage of compliance: the structure of spontaneous text generation from the voice assistant Alice and the structure of a traditional fairy tale

Source: compiled by the author.

Source: compiled by the author.

American optics and artificial intelligence researcher Janelle Shane in the book "You look loke a thing and I love you" says that our world is too complex, unpredictable in many ways and full of secrets for artificial intelligence to fully understand it. She tends to think that AI will always misunderstand us, since it does not have a semantic context that could tell it what we really meant ^{[20, p. 291]}. Despite this, in order to move into the future, helping to develop artificial technologies, a person will have to put up with mistakes and misunderstandings, learn how to select accurate tasks for AI, be able to formulate them, know what mistakes to expect from it, and come up with an algorithm, scheme or structure that will not allow him to extract undesirable or incorrect from the data received from people: whether they are developers, researchers, practitioners or users.

3. Conclusion

The essence of the above boils down to the fact that the spatial-temporal relationships inherent in the "Let's come up with" skill when creating a fairy tale with Alice's voice assistant are divided into two types: 1) the space-time continuum in the selection of characters for a future fairy tale depends on the decision of the user (both younger and adult), which is based on two facts: the original or adaptation version of the source, a Russian or foreign hero; 2) when spontaneously generating the text of the fairy tale, Alice is prone to violations of the sequence of events, repetitions and temporal-spatial asymmetry – all this cannot be controlled by the user. The transformation of the chronotope is an inevitable situation with such components.

Fairy-tale formulas are used by Alice in predictable and most obvious places: the beginning and the ending. It is important to note that the beginning is present in any generation of a fairy-tale plot, and the ending appears selectively – at the will of artificial intelligence. This type of fairy-tale formula as a saying is not present in the interactive text assembly with Alice under any circumstances. This functionality was not provided in the algorithm by which the system works to create a fabulous story. In general, folklore formulas are in traditional places, in accordance with the structure of the genre, and are not subject to critical transformation.

Violations of logic, distortion and loss of context are quite frequent when spontaneously generating text with Alice in the "Let's make it up" skill. It was found that the logic of the narrative is violated in the same places with a certain frequency. Thanks to the guide we developed on the structure of a spontaneously generated fairy tale, Alice was able to accurately identify the stages at which the logical chain breaks. The so-called blocks in step 2 (continuation of the creation of a fairy tale plot) clearly separate the text of the fairy tale: the first block is created without taking away from the context, and all subsequent ones "lose the thread" of the narrative. This is due to the fact that after every three complex actions (the introduction of the hero, the beginning, the conflict), Alice suggests either completing the fairy tale or continuing. If the user selects "continue", the voice assistant starts generating the next block of events in the fairy tale, not relying on information from the previous one (block 1). Thus, the blocks are not strongly connected logically to each other. It turns out that the transformations of logic and context in the "Let's come up with" skill are the most serious and destructive, but with a certain user's wit, their number can be reduced – with the help of a detailed description and detail in each action 2 (user action when generating the text of a fairy tale).

As for the structure of the spontaneously generated text of the fairy tale by Alice, or composition, here it is almost identical to the structure of a traditional Russian fairy tale, but provided that the user stretches the plot into 3 blocks (minimum) in step 2. Based on the results of the linguistic experiment, we see that it is not ideal, but still – the structures of fairy tales coincide, and deviations occur in those parts of the text where new blocks begin.

As a prospect for further research of the stated problems, it is possible to conduct similar linguistic experiments with the same skill of "Let's invent a fairy tale" of the voice assistant Alice and analyze the logic of narration, distortion, loss of context and chronotope when dividing spontaneous text generation by genres: a fairy tale, a household fairy tale and a fairy tale about animals.