Abstract: The object of the study is the works of the founder of abstract expressionism, Vasily Kandinsky, and the Chinese artist Zhu Dequn. The subject of the study is musicality in the works of Vasily Kandinsky and Zhu Dequn. The author conducts a detailed comparative analysis of abstract ideas and works of two artists in order to study their emotions and sources of inspiration. Special attention is paid to the influence of V. Kandinsky's works on Zhu Dequn's work, as a result of which the Chinese artist tried to combine Western music with the rhythms of Chinese calligraphy, giving his works a deeper meaning. In addition, from the standpoint of a sense of musicality, Zhu Dequn's works such as "The Rhythm of Rebirth" and "Pacification" are considered in the article. It is noted that Zhu Dequn's work is focused on reflecting the spirit, culture and emotions. To achieve the goal set in the research process, approaches and methods of modern philosophy, cultural studies, and art criticism were used. The main conclusions of the study are that under the influence of V. Kandinsky's theory, Zhu Dequn became more musical in his abstract paintings. Despite the fact that Zhu Dequn was not very experienced in music theory and performance, he could accurately capture the melody and rhythm of instruments such as traditional Chinese guzheng, as well as feel the light and color created by a musical composition. The author's main contribution to the study is to demonstrate the influence of V. Kandinsky on the works of Zhu Dequn, who managed to incorporate philosophical ideas and elements of local culture into his works under the influence of music, thereby creating a unique Chinese abstract art. The novelty of the study lies in the fact that the author described how Zhu Dequn's paintings reflected a combination of Chinese and Western painting, which is a valuable example for the exchange and development of Chinese and Western culture and art.

Keywords: philosophy, emotion, creativity, musicality, painting, expressionism, abstraction, Zhu Dequn, chinese art, culture

Abstract: The purpose of the article is to highlight the theoretical foundations for the development of criteria for evaluating audience preferences in modern cinema. The research methodology is based on theoretical analysis, synthesis and generalization of scientific sources on the research topic, and the comparative method. The novelty of the research lies in the fact that the author highlights the theoretical foundations of the methodology of criteria and variables for assessing the success and demand of modern films as a foundation for testing and developing a questionnaire to identify audience preferences. As a conclusion, the authors states that there is a need to pay attention to the phenomena of audience choice (for example, the "certainty effect", etc.); "flow experience" within the stage of watching a movie for its emotional perception by the audience. Considering the issues of statistics, assessment of the potential commercial success of a film production and the complex of factors affecting it, it is advisable to cite D. Kahneman's position. This researcher provides an argument for the value of simple formulas for forecasting, operating with a low number of basic criteria. Thus, this author emphasizes the importance of formulas that provide equal weight for each predictive factor, which is due to their indifference to the randomness associated with the organization of the sample. In the context of the statistics of the film business sector, the corresponding hypothesis will look like this: a model for evaluating the future success of projects in certain genres is able to provide a higher level of reliability compared to models that ignore genre originality. Thus, in the study of methods for predicting the commercial success of films, carried out by A.S. Tatarnikov, the great reliability of the predictive model using information on paintings of certain genres of entertainment (in particular, adventure films, comedies, etc.) was confirmed.

Keywords: collaborative filtering, emotional assessment of the audience, forecasting, cinema marketing, flow experience, assessing viewers' preferences, audience, film, cinema, viewer preferences

Abstract: In this article, the object of research is the Church of St. Nicholas the Wonderworker in the village of Batyushkovo, Dmitrovsky district, built in the middle of the XVII century (1666). In the article, the author collects and researche information about the owners of the village and the church for three centuries, describes the events taking place with the church in the XX century. The main details and aspects of the repair and restoration of the church, which took place in 1902 and 1970, are investigated. A special section of the article is a study of the life path of the clergy of the church, the contact of their destinies with political events and repressions of the 1930s. A special contribution of the author to the study of the topic is the publication of data on the restoration of the church. Restoration documents and reports are published for the first time, architects, restorers and icon painters who participated in the restoration, painting of the church, and creating new images for believers are listed. The article contains oral memoirs of residents of the village of Batyushkovo about the existence of the church in the 1930s–1990s, published photographs from personal archives, as well as archives of the Dmitrovsky Kremlin Museum-Reserve, the A.V. Shchusev State Museum of Architecture, the State Archive of the Russian Federation, giving a voluminous idea of the history of the church and its current state.

Keywords: nationalization of property, local history, cultural heritage, restoration, architecture, metric, Dmitrovsky district, temple, Church of St. Nicholas the Wonderworker, Batyushkovo

Abstract: In the space of the literary text of the "poem" written by the composer, the author of the article explores the features of the artistic interpretation of the fundamental religious ideas of Catholicism: the grace of the Holy Spirit, Christian revelation, mysticism, theocentrism. The elements of temple sacredness (lauda), the metamorphosis of the role of the choir, the "dancing form", as well as new forms of theatrical liturgy (prayers, responsories) are considered. Messiaen's embodiment of the principles of the mystery of the XIV–XVI centuries is considered through the prism of the composer's new understanding of the idea of synthesizing artistic elements of a musical and theatrical work. The main attention is paid to the discovery of the conceptual constants of the libretto of the Franciscan Scenes – the development of the dramaturgy of light and the compositional interaction of semantic elements. The dramatic strategy of light in Messiaen's "poem" is considered in the mirror of the works of P. Duke and K. Debussy on the text of the plays by M. Maeterlinck, as well as in the tradition of the mysteries of G. d'Annuzio, K. Debussy and P. Claudel. The hermeneutical reconstruction of the author's idea makes it possible to identify the dominant meaning of the theological constants in Messiaen's work. Comparative methods are necessary to establish similarities and differences in the artistic implementation of the idea of art synthesis. The musical and poetic understanding distinguishes the "poem" and the music of the mystery of d'Annunzio – Debussy; Messiaen's "poem" reveals a different understanding of the idea of synthesizing the artistic elements of a musical performance. In the libretto "St. Francis of Assisi. Franciscan Scenes" Messiaen presented a theological interpretation of the main aspects of Christianity – grace, the joy of resurrection and the idea of a synthesis of time and eternity. The space of spiritual meaning of the libretto "St. Francis of Assisi. Franciscan Scenes" is formed by the poetic imagination of Messiaen on the basis of a deep comprehension and theological interpretation of the canonical texts of Holy Scripture, as well as the teachings of modern theologians and authoritative Christian thinkers. A special feature of the theological concept of the "Franciscan Scenes" is the dramaturgy of light, which includes transformations of the elements of light and color. Messiaen's new understanding of the idea of synthesis as the basis of a musical performance was manifested in the fact that the composer integrated elements of temple sacredness into the artistic text of the libretto and presented new forms of theatrical liturgy in the form of responsories in 2 and 8 paintings. The meaning of the verses of the Holy Scriptures discovered by Messiaen in the "poem" is relevant in the light of the contemporary cultural, historical and spiritual orientation of the composer. These aspects of Messiaen's work are highlighted for the first time in Russian musicology.

Keywords: metamorphosis of the choir, Revelation, stigmata, saint Francis of Assisie, liturgy, dramaturgy of light, dancing form, poem, libretto, Messiaen

Abstract: In this article, the subject of the study is design, namely "environmental design". The author examines in detail the relevance of environmental design research and its importance in the modern world. The object of the study is specialized furniture for institutions, enterprises, shops. Special attention is paid to the fact that there is standard (serial) furniture and produced according to an individual project, or small-scale, it is the latter that the author classifies and explores. The author examines in detail such aspects of the topic as the influence of author's furniture on the design of the environment and the transformation of the room space. The technology of designing specialized furniture is also given. The author analyzed and systematized modern methods and technology of author's design of furniture for rooms of various purposes, except residential ones. The author provides specific design examples. In the research empirical methods were used, in particular: observation, generalization of experience, expert assessments, and theoretical ones: analysis, synthesis, comparison, generalization. Based on the results of the study, a general methodology was formed and proposed for the design of specialized furniture for enterprises, shops and institutions based on an individual design project. The main conclusion of this study is that the technology of designing this type of furniture has its own philosophy, specific features depending on the purpose, design features, equipment used, and the resulting products have their own unique and recognizable author's style. The author also identified the basic requirements for the design of this furniture. The novelty of the research lies in the proposed methodology and classification of specialized furniture. Previously, detailed studies of this subject area have not been conducted, unlike residential furniture and standard (serial) furniture for public spaces.

Keywords: design technology, commercial furniture, furniture for institutions, administrative desks, furniture for shops, specialized furniture, furniture, environment design, design, bar counters

Abstract: This article is devoted to the study of the development of self-therapeutic documentaries in China since 2000. The object of the study is a Chinese documentary about self-therapy. The subject of the research are documentaries about self-therapy in the early 2000s: "More than One is unhappy" (2000), "Home Videotape" (2001), "Nightingale is not the only Voice" (2001), as well as films that appeared after 2016: "Small Talk" (2016), "Minding the Gap" (2017) and "The Lovely Widow and Her Annoying Son" (2019). Special attention is paid to self-therapeutic documentaries presented at the Mother Film Festival and the documentary masterclass FamilyLens, created in China in 2022. The author examines in detail such aspects of the topic as the causes of its occurrence, the definition of the genre and the form of the film text. To understand the trajectory of development of Chinese documentaries about self-therapy, as well as the causes and characteristics of each period, this study uses an integrated approach using content analysis and text analysis, as well as psychoanalytic theory to explain the filming of documentaries about self-therapy. The author argues that the key point in the foundation of the subgenre of documentaries about self-therapy in China is the presence of the director as the main character of the film, filming himself. The study identifies two distinct periods in the development of self-therapeutic documentary films in China, both of which are closely related to the development of film equipment. In conclusion, the author not only evaluates the positive attitude of self-therapeutic documentary practice towards self-awareness and raising public awareness of problems related to the native family, but also argues that researchers should pay more attention to potential ethical problems present in films. This is because, in fact, directors do not heal during filming, but use it as a means of attacking their parents.

Keywords: ethical importance, Grassland Workshop, FamilyLens Workshop, art therapy, the Mother Film Festival, textual features, reasons for origin, stages of development, history of development, self-therapy documentary

Abstract: The object of research is artificial intelligence (AI); the subject of the study is the basis of its development by representatives of the philosophy of culture. It is noted that the philosophical understanding of technology, technology and AI began much earlier than artificial intelligence was created as a technological phenomenon, which indicates the essence of AI as a cultural phenomenon. Since modern times, representatives of the philosophy of culture have tried to comprehend AI, and their theoretical constructions today often look prophetic, which have found their full confirmation in our time. The earliest perspective of understanding the culture of AI was the internalization one (evaluation of human experience in relation to technology), which was then supplemented by the phatic (understanding of the possibility of communication with AI) and critical (criticism of interaction with technology and AI). The research was carried out using general scientific methods of analysis and synthesis, observation, description, etc. Special methods were used: systemic-structural, dialectical, cultural-historical. The main approach to the problem has become interdisciplinary. The scientific novelty lies in identifying different angles of understanding the culture of AI in the history of cultural and philosophical thought. It is noted that the internalization perspective is most clearly manifested in the works of Hobbes, Leibniz, Descartes, Spinoza, Hume and other scientists seeking to understand the similarities between human and machine thinking, the possibility of repeating natural intelligence in artificial intelligence. A phatic perspective on understanding the culture of AI is characteristic of the works of Rickert, Toffler, Derrida, Barthes, Foucault and other philosophers who focused attention on the nature of the relationship between man and machine. A critical analysis of AI is manifested in the studies of Berdyaev, Heidegger, Sombart, Bell and other authors who talk about the dangers associated with AI.

Keywords: communication with AI, critical perspective, phatic perspective, interiorization perspective, cultural phenomenon, cultural-philosophical foundations, philosophy of culture, technology, technique, artificial intelligence

Abstract: The subject of the study is the process of teaching German classes using video blogs not only as a means of teaching speaking and listening, but also as a means of forming socio-cultural competence. The article discusses the concept of "blog" and its role in the process of teaching German to students of higher educational institutions. The authors raise the question of the need to include Internet resources, in particular video blogs, in the educational process, the formation of students' socio-cultural competence, one of the components of foreign language communicative competence. This competence contributes to the acquisition of skills and knowledge necessary for effective intercultural communication. The main idea of using video blogs is the interrelated and complementary teaching of a foreign language and the culture of the language being studied in the context of intercultural dialogue. It is possible to extract valuable linguistic and extralinguistic knowledge from video blogs, to master models of speech behavior in various situations of intercultural communication. Also, video blogs contain up-to-date information on various topics and provide feedback opportunities that contribute to the formation of the ability to express and argue your point of view in German. As with any didactic tool, certain selection criteria are imposed on video blogs. With a competent selection and presentation of the material, the teacher will be able to form a foreign language competence of the student in a complex, taking into account all language levels: lexical, phonetic, grammatical, as well as extralinguistic factors, such as the communication situation, facial expressions, gestures, etc.

Keywords: intralinguistic factors, didactics, higher education, German language, video blog, blog technologies, intercultural communication, communicative competence, socio-cultural competence, extralinguistic factors

Abstract: The article examines the issue of the formation of a new reality through Internet culture. The subject of this work is the nomadic model of the World Wide Web. The object is modern news programs presented on the Internet. The purpose of the study is to identify patterns that influence the formation of a new genre of media as a way of communication in the Internet environment. The peculiarity of the Internet device allows us to develop the concept of a viewer-author due to a high level of interactivity. The presence of a multitude of information expressed through an uncontrolled nomadic model creates an atmosphere of a new "reality" based on false freedom and pseudo-trust. In addition, the creation of a "virtual double" by the viewer contributes to the manifestation of hidden emotions and antisocial behaviors as a manifestation of the archetype "Shadow" (K. Jung). The article puts forward a hypothesis: the peculiarity of the Internet networks, expressed through the nomadic model, creates a platform for the realization of the unconscious viewer.  This work is based on the nomadic model of culture developed by philosopher J. Deleuze and psychiatrist F. Guattari. Through the concept of psychoanalysis by K. Jung and J. Lacan examines the concept of the unconscious, as well as the "virtual reality" of S. Zizek, necessary for the most complete analysis of the transmission of information through Internet genres. The relevance of the research is emphasized by the need to comprehend the processes of constructing reality in the Internet network, through new information genres, in conditions of high interactivity. The novelty of the work lies in a new theoretical understanding of the experience of receiving and transmitting information via the Internet, one of the main participants of which is the viewer himself. The analysis of information production methods becomes especially necessary in conditions of reduced data moderation, which leads to the spread of false information in modern society. The author's special contribution to the research of the topic consists in the analysis of information and analytical programs, in particular "Caution: News", presented on the Internet platform. The main conclusion of the conducted research is the confirmation of the scientific hypothesis: the Internet environment is a nomadic model, which is a platform for the realization of the unconscious viewer.

Keywords: The nomadic model, News, Communication, Information programs, Media, Television, The Internet, The unconscious, Rhizome, The reality of the virtual

Abstract: The article examines the features that characterize media culture in recent decades: emotionality, anonymity, the need for "detente" and compassion. It is proved that the mechanisms of the media environment determine the popularization and dramatization of the information flow. Using the example of the role of hayter, it is shown how the conflict between taboo emotion and the need to speak out leads to socially disapproved behavior; the role of the troll is also actualized in a socio-psychological context. The article considers the emotionality of modern media culture as its integral component. Its products are a large number of neologisms–memes related to emotions, degrading forums and the fight against offensive content from corporations. Anonymity is considered as a possible reason for the decrease in empathy, dehumanization and deindividualization of the user. It is the popularity of this opportunity in the last decade that allows us to talk about a new social demand for security and freedom of expression; the reverse side of the latter is harassment, offensive statements and victims of Internet hatred among marginalized groups of the population. Using Ten van Dyck's discursive analysis of the mass media, we show that a low threshold for entering the media space does not guarantee the undermining of the status quo at all: on the contrary, the low importance of the cognitive element popularizes rumors and conspiracy theories, often confirming arguments of intolerance and xenophobia.

Keywords: trigger, trolling, hater, affective capitalism, society of impressions, media culture, emotions, emotional capitalism, medialogics, anonymity

Abstract: The article considers genre war cinema as a practice of commemoration. Through comparative analysis, the main characteristics and distinctive features of the film and series as actors in the space of historical memory are revealed. The study was carried out in an interdisciplinary field, using the methods of both historical analysis and visual stadies (theoretical, structural-functional and semiotic analysis of films; method of "competent observer"; comparison, generalization, synthesis). A comparative analysis of the film adaptation of Joseph Heller's novel "Catch 22" in the versions of the movie (1970) and the series (2019) is carried out. A review of approaches to the study of a military film / series in its relation to history is given. Specific visual material illustrates such features of the series as: innovativeness of social viewing practices that correspond to the “behavioral map” of a person in the information society; the novelty of technical and economic solutions of the film industry; the specific narrative strategy (a combination of horizontal and vertical construction of the episode system, a variety of plot lines, complex spatio-temporal connections between the series and their parts); elaborate psycho-dramatic effect; the viewer's sympathetic "everyday" protagonist with situational behavior and a hypothetical moral imperative; a variety of audiovisual solutions, as a rule, focused on the "human-sized" perception of both individual episodes and the picture as a whole. The conclusion is made about the importance of war cinema in the space of historical memory due to its media and intertextuality.

Keywords: episode, plot, narrative, film adaptation, film, military cinema, series, commemoration, historical memory, audiovisual means

Abstract: The study of interpretations of historical events from the perspective of a certain social group or society as a whole, as well as the mechanisms of formation and transmission of ideas about the past is a promising subject field of modern historical research. The author analyzes the annual regimental holidays and 1911 jubilee celebrations of His Imperial Majesty's own Convoy from the perspective of the concept of historical culture. The focus of the research is on the values and ideas about their past of the Kuban and Terek Cossacks, which are the core of the Cossack Guard (Convoy). The study of the festive commemoration of the Convoy through the prism of the concept of historical culture is conditioned by the need to find effective mechanisms for preserving and modeling the collective historical memory of the modern Cossacks, including through the practice of celebrating memorable dates. Being a historical study, the work was based on historical-genetic, historical-comparative and historical-systemic methods using an interdisciplinary approach. The novelty of the work is determined both by the unexplored nature of the research issues and by the introduction into scientific circulation of new archival material stored in the funds of the State Archive of the Krasnodar Territory. The analysis of the festive events of the Convoy revealed not only similar elements to the festive culture of the Russian army as a whole (parade, liturgy and prayer service, ceremonial march, informal part for officers and lower ranks), but also distinctive features characteristic of the Cossack Guard (the highest presence, jigging, Cossack songs and dances). It was concluded that festive commemoration, which was based on retro-orientation, ritualism, collectivity, corporate value orientation and emotionality, played an important role in the development of the historical culture of the Kuban and Terek Cossacks serving in the Convoy.

Keywords: historical culture, The Terek Cossacks, Kuban Cossacks, The Imperial Convoy, military rituals, festive celebrations, anniversary, regimental holidays, festive celebration, The sovereign chiefs of the Convoy

Abstract: The relevance of the study of the ancient nakosnik of the Moksha woman is determined by the importance of studying the Mordovian culture, the history of the Mordovian costume, and the way of creating the nakosnik. The purpose of the article is to substantiate the spiral method of shaping in the metal decoration of archaeological monuments (Kryukovo–Kuzhnovskaya, Elizavet-Mikhailovsky burial grounds) of the Mordovian people. The objectives of the study are to identify in which jewelry the spiral shape was often found, what was the method of forming the Moksha band puloker, how widespread it was when creating a traditional Mordovian costume. The headpiece of the puloker showed a new symbolic accent in a traditional costume. Its simple, reliable form embodied a synthesis of the ancient artistic canon, the stability of the culture of the people and changes in the idea of the ideal female image. The results of the study can bring closer to understanding another complex phenomenon in the medieval history of the Mordovian people, its ethnic identity. The methodology of the work is based on a philosophical and cultural analysis of the materials on the topic of the article, synthesis and generalization of historical and archaeological sources. The novelty of the work lies in the substantiation of the stability of the spiral shape in the metal pieces of the southern archaeological sites of the Mordovian people. As a result of the study, it was found that in the second half of the 2nd millennium AD, stability was observed in the existence of a spiral shape in the metal-plastic of the southern archaeological sites of the Mordovian people. It prevailed in such jewelry as a pendant with a weight, a piercing, a crown, bracelets, rings, shoe jewelry, and an ornament. The author of the article is of the opinion that the puloker was formed in strict accordance with the original tradition of the Mordovian people, using proven and well–known technologies, methods of processing raw materials and inherited spiral shaping techniques in a suit (wrapping – twisting). It appeared as a result of the modernization of the material and thanks to the creative activity of a woman.

Keywords: shape, spiral, braid, headdress, Mordovian-Moksha, women's costume, tradition, method of creation, culture, wire

Abstract: This article is a study of the interaction of German and Dutch art in a genre unique to the Republic of the United Provinces of the 17th century – still life. The author examines the paintings of Dutch and Flemish still life masters and studies their contribution to German art, as well as the influence of the work of German artists on the evolution and transformation of still life in the Northern Netherlands of the 17th century. Particular attention is paid to the development trends of various directions of Dutch still life painting in interaction with German art. For the first time the key masters of the genre who worked there are highlighted. The methodology is based on the formal-stylistic method used to analyze still lifes of certain types and on the comparative stylistic analysis. Specific still lifes are analyzed, attention is paid to the socio-historical context that influenced the peculiarities of interaction between artists of the two countries and their artworks. The main conclusions of the study are about the great influence of the work of Dutch still life masters on the formation of the genre in Germany. A major role was played by the personal art preferences of the Great Elector Frederick William I and the artworks of the Dutch artists he invited to work at the court. Moreover, there were no individual genre trends that arose independently in Germany. Compositional features, style and even color choices – all this was dictated by the strong influence of the work of the Dutch masters. It is especially important that German art had virtually no influence on the development of Dutch still life; this genre received unprecedented development in the Northern and Southern Netherlands, largely under the influence of socio-cultural, political and economic processes occurring in two countries.

Keywords: hunting trophies still life, flower still life, trompe-l'œil, Dutch pronkstilleven, XVIIth century painting, baroque, realism painting, German still life, Dutch still life, Flemish still life