DOI: 10.7256/2454-0757.2024.1.69543

EDN: PURYRC

Abstract: The object of the study is a special branch of scientific knowledge, formed at the intersection of interests of various humanitarian disciplines – the philosophy of artificial intelligence; the subject of the study is the problems it considers. The author identifies the main traditional questions that the philosophy of artificial intelligence tried to answer earlier. Such questions in the earlier stages of the development of science were concentrated around the possibility of artificial intelligence to become aware of itself, learn to think, feel and create like a person. Scientists since the 1960s interested in the problems of equality of natural and artificial intelligence, the ability of a computer to show benevolence or hostility towards its creators. The research was carried out using a historical and philosophical analysis of issues in the philosophy of artificial intelligence, the method of interpretive synthesis, etc. Systemic-structural, dialectical, cultural-historical, value-based, interdisciplinary approaches to the problem were used. The scientific novelty of the research lies in identifying the problems of the philosophy of artificial intelligence that are relevant at this stage of development of this scientific field. It is noted that the dynamics of the philosophy of artificial intelligence are significantly influenced by the fact that “strong” artificial intelligence has not been created for several decades. This has caused a transformation in the research field of the philosophy of artificial intelligence, and at the moment this branch of scientific knowledge is considering new questions, including why it is not possible to create “strong” AI that completely replicates human thinking; can a computer think, albeit differently, than a human; what is the difference between human and machine thinking; who should be responsible for the decisions and actions of artificial intelligence, and etc. The issues facing the philosophy of artificial intelligence are constantly updated.

DOI: 10.7256/2454-0757.2024.1.69551

EDN: QRUEGP

Abstract: The object of the study is artificial intelligence technology in Chinese show business. The subject of the study is the following technologies of Chinese show business, at the basis of which we can find an artificial intelligence: virtual idols, digital avatars, virtual influencers. The following aspects of these technologies are considered in detail: making a profit, strengthening national identity. Special attention is focused on the fact that the development of artificial intelligence technology is part of the state policy of the People's Republic of China, which is reflected in the country's regulatory legal acts. The theoretical basis of the study is the work of the following authors: A.M. Gridnev, G. A. Ioakimidi, M. D. Pysin, K. F. Lee, H. Khan and others. The following methods are used in the article: analysis of special literature, publications of mass media, normative legal acts, synthesis, deduction. The study showed that virtual idols and influencers such as "Xiangwan Big Devil", digital copies of celebrities (B. Sa, S. Zhu, B. Gao, Ya. Long) and presenter Xiao Xi bring additional profits and attract an audience, as well as strengthen the national image and unity of China. The scientific novelty of this study lies in the detailed systematization of information and cultural analysis of the phenomenon of "virtual influencer", which is gaining popularity in the modern digital world. The results of the study provide valuable data for the development and implementation of artificial intelligence strategies in China, especially in such areas as industry, defense, social sphere and show business. These findings contribute to the formation of standards and ethical principles for artificial intelligence, which is critically important for the successful digital transformation of the country. The study highlights China's strategic goals of using AI as a driver of modernization of the national economy by 2030. The document identifies key stages of development and goals, including the development of standards and the widespread introduction of AI in various sectors. China views AI as an important tool to strengthen its position on the world stage, striving to become a leader in high technology, which will undoubtedly have a significant impact on the global economy and the development of technological innovations.

DOI: 10.7256/2454-0757.2024.1.69678

EDN: KAPIMN

Abstract: The problematics of civilization development and the place of human being in it is a significant area of research, which is additionally actualized nowadays in the conditions of the outlined transition to a new stage - the civilization of cognitive technologies. According to the assessment proposed in the article, three stages of civilization development should be distinguished: agrarian, machine, and the civilization of cognitive technologies, which is currently being formed. It is characterized by the main need in the form of artificial cognitive systems for intellectual control of machines for the production of material goods, and the result of satisfying this need is the replacement of human beings by artificial cognitive systems in the intellectual control of machines. The following several questions are key in the context of the mentioned problems: "What are the functions of human beings in the existence and development of civilization?", "Do these functions change?", "Are there inalienable ones among them?", "What can become the basis for the further development of civilization?". The functions of human beings within civilization are the generation of needs and work to satisfy them. Generation of needs is an inalienable function of human being in civilization, which determines the determining role of the evolution of needs in the development of civilization. The main role in the evolution of needs belongs to social mechanisms of compulsion (motivation) to consumption, which influence not only the satisfaction of social needs, but also stimulate excessive consumption of material goods and intellectual activity. Further development of civilization will preserve the position of human being as an initiator of this development only in case of successful implementation of social coercion mechanisms. The condition for this is social integration: preservation and expansion of ties between human beings, counteraction to the fragmentation of society.

DOI: 10.7256/2454-0757.2024.1.68838

EDN: KCEKBD

Abstract: The subject of the study is the figurative and symbolic reflection and transformation of the dynamic reality of life in the cinematic space of modern culture. The purpose of the work is to identify and substantiate trends in the development of cinematographic cultural texts based on the figurative and symbolic representation of the phenomenon of success in the existential space of human existence. The scientific novelty of the work is represented by the evidence base of the study, which determines the figurative correspondence of the philosophical and sociological representation of cinematic texts to the phenomenon of success as a value-symbolic aspect of personal activity. Based on the analysis of cinema screen products created at the turn of the XX-XXI centuries and devoted to the characterization of the image of a subject whose existential level of being is characterized in the symbols of success/ failure, several trends in the development of cinematic culture can be identified. Firstly, the characteristic of the "sunset" of the previously dominant ideological trend of symbolization of the actual phenomenology of success. Secondly, the stage of axiological instability and ambivalence in the evaluation of the symbols of success, unevenly implemented in the scenario and staging part. And, thirdly, the formation and consolidation of new cinematic paradigms through the constant convergence of private symbols of success, manifested in different ways both in reality and on the cinema screen, and accompanied by constant attempts at their non-contextual universalization.

DOI: 10.7256/2454-0757.2024.1.68938

EDN: KDFMMX

Abstract: The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus".

DOI: 10.7256/2454-0757.2024.1.69356

EDN: KOFZKO

Abstract: The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.