Abstract: The object of the study is the culture of artificial intelligence (AI); the subject is its value-normative structure, that is, the correspondence of the AI culture to the key values of the modern world. As a result of the analysis of the cultural-philosophical context, such values were identified as the meaning of being, the idea of the ultimate goal of human existence, the connection between man and nature, the interaction of man with space, humanism, spirituality, immortality. The analysis of the AI culture was carried out through the prism of these values in order to identify the specifics of their refraction. In the study, AI is understood as technological systems that have some properties of human intelligence and strive to perform functions that are traditionally considered as the prerogative of man. The study was conducted on the basis of general scientific methods of analysis and synthesis, observation, description and special methods as dialectical, cultural, historical. An interdisciplinary approach to the problem was used. The scientific novelty of the study is determined by its subject matter: the value-normative structure of AI culture is a new phenomenon. It is noted that various "eternal" values find their refraction in AI culture in different ways. Humanism and spirituality seem to be unrelated to AI culture, but their significance is strengthened by the spread of AI. The meaning of life, unity with nature as values in the context of AI culture are actualized. Cosmism and immortality are values that AI culture fully complies with. AI allows a person to spread his influence to an ever-expanding surrounding space and promises digital immortality. It is concluded that AI culture has a value-normative structure indicating its consolidation in the modern cultural field, its importance for culture.

Keywords: space, meaning of being, philosophy of culture, values, culture, computer, digitalization, artificial intelligence, humanism, immortality

Abstract: Confucian ideas are deeply rooted in Chinese traditional culture, having played a crucial role in the formation and development of China's traditional musical art. The Confucian philosophy of music has its origins in traditional Chinese Confucian culture. With the development of globalization, this influence has gradually spread throughout the world. Nowadays, there is an active appropriation of musical styles from different countries and regions, forming a diverse world musical culture. Such trends not only pose new challenges to traditional Confucian musical concepts, but also create opportunities and prospects for the actualization of Confucian musical philosophy in the modern cultural space. The article is devoted to the study of the Confucian philosophy of music from the point of view of globalization. Through a comparative analysis of philosophical concepts of music in different cultural contexts, the world significance and value of the Confucian philosophy of music are considered. The author of the article presents the basic concepts and key ideas of Confucian musical philosophy, then analyzes the similarities and differences between the musical ideas of Confucianism and other cultures. In conclusion, the author examines the influence of the Confucian philosophy of music on modern world musical culture, as well as its probable directions of development. The article attempts to rethink the Confucian philosophy of music from the point of view of the mechanisms of globalization, examines its influence and development within the framework of modern musical art. In conclusion, the author argues that Confucian musical philosophy not only served as a guideline for music education in ancient China, but also offers valuable ideas and influences for the modern development of world musical culture, especially in the field of moral education, the transmission of cultural values and intercultural communication.

Keywords: music, Chinese culture, Musical culture, China, intercultural comparison, modern musical culture, globalization, philosophy, culture, Confucius

Abstract: The object of this research is the main character in the story "The Fashionable Lawyer" by Taffy (N. A. Lokhvitskaya), one of the brightest writers of the first half of the 20th century. The subject of the study is the image of the main character with the classic features of a trickster and a picaro. To characterize the features of these characters, Taffy's short story "The Fashionable Lawyer" was chosen, in which, in a modern situation, a hero is shown combining the features of a troublemaker, a merry man, a rascal. The shift from accusatory social satire to political satire at the turn of the 19th and 20th centuries did not affect the elegiac mood of N. A. Lokhvitskaya's stories, which did not denounce or castigate modern society. The non-classical character in Taffy's story is investigated, with transitions from established mythological characteristics to a mixture of features. Historical, biographical and deductive research methods are chosen. The historical and biographical method contributed to a retrospective analysis of the socio-cultural situation of the Russian space at the turn of the 19th century. Using the deductive method, from the general manifestation of the comic in Taffy's work to a specific character in her story "The Fashionable Lawyer", the character of the images of the trickster hero and the Picaro hero is considered. The novelty of the study lies in analyzing the traits of the hero of this story with conclusions about the partial coincidence of the character's character with the classic characteristics of the trickster and picaro. The distinguishing feature from the classic characters of the hero of the lawyer's story lies in the sincerity of his actions without realizing the tragic finale. Another vector of the novelty of this study is that N. A. Lokhvitskaya, long before the manifestation of postmodern features in Russian literature, predicted its markers in the tragicomedy of the situation, reflecting it in this story. The result of the study is expressed in the discovery of the features of the trickster hero and the picaro hero in the actions of the main character, with a shift in their classical functions. The results of this study are applicable to the analysis of N. A. Lokhvitskaya's work by both cultural scientists and literary critics. The conclusion is drawn about the tragedy of the comic and the tragedy of the comic through the main character's misunderstanding of responsibility for his actions.

Keywords: mythology character, irony, satire, comedy, humor, literature, Taffy, laughing culture, trickster, picaro

Abstract: Currently, technologies based on the use of artificial intelligence are being integrated into most spheres of life in modern society, which determines the relevance of the research topic. The initial stages of this movement were associated with solving problems of optimizing routine processes, but recently there has been a tendency to introduce innovative neural network practices in such areas as culture and art, which were considered the prerogative of man. The purpose of this work is to experimentally identify respondents' declared preferences between digital graphic works created by humans and artificial intelligence. This will allow us to give an objective assessment of the potential of generative technologies, their ability to compete with copyrighted works, as well as the degree of influence on the vectors of further development of the field of artistic creativity and creative design. A target group of 62 respondents with artistic skills was formed for the empirical study. The data was collected based on the method of declared preferences using Google Forms. The methods of quantitative statistical analysis were used during the performance analysis stage. Currently, there are no formalized criteria for evaluating the quality of digital images. The scientific novelty of the study lies in the fact that, based on the results of an analysis of the opinions of qualified survey participants, their emotional perception of artistic works and existing practical experience, the announced preferences between graphic works created by humans and artificial intelligence were determined for the first time. In general, respondents demonstrated a commitment to digital author projects with a score of 55.5% (the answer is "yes" – 20.3%, the answer is "rather yes" – 35.2%), while illustrations developed using generative technologies received 44.5% (the answer is "yes" – 13.5%, the answer is "rather yes" – 31.0%). The results obtained can be of theoretical and practical importance for artists and designers, researchers and teaching staff of educational institutions providing training in creative areas of training. A timely response to large-scale changes in society, when basic concepts of art are undergoing transformation, will allow rethinking the algorithms for creating digital graphic works and introducing new forms of organizing the creative process.

Keywords: neural network, graphic design, generative technologies, art, declared preferences, digital graphics, artificial intelligence, standardized image, artistic creativity, creativity

Abstract: The relevance of the research topic is due to the fact that currently many aspects of human existence are mediated by any technological solutions and tools included in the general algorithmic environment. The development of artificial intelligence technologies reflects these processes, having a significant impact on a person's daily life. Based on this, the discourse about the interaction of artificial and genuinely human intelligence is becoming increasingly relevant. The object of the study is the image of an "artificially created being": the image of a super-powerful computer or a digital disembodied entity, a cyborg or an android robot, visualized in modern cinema. The subject of the research is to identify the features of the representation of artificial intelligence technologies in cinema, reflecting the fusion of man and machine. The axiological method was used as the methodological basis for the analysis of films about the relationship between man and machine, containing and underlying socio-cultural values and ideas. Since the research material was artistic film texts, the hermeneutic method with its leading principle of understanding and interpreting the meaning of texts was essential in their study. The novelty of this study lies in identifying the visual features of AI technology representations in cinema, namely: humanizing a machine, giving it anthropomorphic features; endowing artificial intelligence technologies with emotions; the presence or absence of Artificial Intelligence physicality. It is concluded that cinema, within the framework of the science fiction genre, acts as a platform for interpreting artificial intelligence technologies, allowing for a higher level of development of Artificial Intelligence relative to what actually exists, and allows projecting a person's attitude to modern technologies.

Keywords: hybrid environment, representation, corporeality, identity, modern technologies, robot, artificial intelligence, machine, cinema, cyborg

Abstract: The subject of this research is AI art, a branch of generative art that emerged at the intersection of artificial intelligence technologies and culture. This field transforms traditional notions of authorship, the creative process, and the role of humans by integrating algorithms and machines as active participants. Particular attention is given to the historical and cultural analysis of generative art, tracing its evolution from early mechanical automatons and avant-garde experiments of the 20th century to modern neural network technologies. The goal of the study is to explore the cultural dimensions of AI art, its influence on the perception of creativity, and its role in shaping new aesthetic categories. The research aims to uncover the transformation of artistic practices under the influence of technology and their significance in global cultural shifts. The methodology of the research is based on historical and cultural analysis, an interdisciplinary approach, and philosophical concepts of authorship and originality. Analytical methods are applied to examine examples of generative art and the interaction between technology and contemporary culture. The novelty of this research lies in the cultural interpretation of AI art as a unique phenomenon that redefines creativity, authorship, and human-technology interaction. The study highlights the connection between traditional forms of art and new methods rooted in deep learning algorithms, offering insights into the evolution of the artistic process within a broader historical and cultural context. The main conclusions address the redefinition of authorship in AI art, the role of algorithms as equal participants in the creative process, and the expansion of traditional aesthetic categories through the use of randomness and autonomy. AI art is presented as a pivotal phenomenon in cultural transformations, fostering the creation of new artistic forms and driving a global reassessment of the relationship between art and technology.

Keywords: problem of authorship, autonomy of art, cultural transformations, perception of creativity, computer technologies, digital art, neural networks, artificial intelligence, generative art, AI art