Vol 4, No 3 (2024)

Artificial intelligence is increasingly providing us with amazing assistance, but at the same time, fear of its power is developing. The benefits of ChatGPT are not nearly as great as the harmful consequences of the program. Copyright is being undermined, creative achievements in the arts are becoming replaceable or are suspected of being machine products, and the same applies to achievements in schools and universities. Attempts are being made to control these consequences with new rules, but in fact humans are becoming increasingly superfluous and a dumbed-down society with highly intelligent machines is threatening.

The paper is devoted to the problem of epistemic conditions of cognition of future phenomena.
The problem is that the cognizable aspects of information are based on the evolutionary mechanisms of adaptation of the body, which are reduced in humans, and on the rational principles of human cognition, which are mixed with irrational prophecies. The solution is to separate the heuristic possibilities of theory from empirical guesses and consider the structures of theoretical knowledge that process information about possible and impossible facts.
The aim of the paper is to discover a mental act directed at the future, which cannot be reduced to extrapolating the past and varying alternatives. The conditions of the possibility of knowing about the reality of the future as a mode of time, and the idea of a specific event in the future are split. 
The following hypothesis is considered: cognition of the future is based on thinking about the possible and necessary relations of an object to an integral system including a subject.
The attitude of the mind towards the future is not a cognitive act like receiving information, the source of which is problematic. This is not animal foresight, not divination, not planning. Cognition is understood not as a perception of the objective properties of a phenomenon, but as its construction according to the rules of the organization of consciousness. In general, the future is not knowable, but there are types of phenomena other than the causal concept of cognition that justify information about the future. Theoretical knowledge of the predispositions of a situation involving an object is proactive. The subject of prediction is not only the truth about the future, but also a judgment about what exactly will not happen. This limitation narrows the scope of possible alternatives. The elementary acts of realizing that an event is not yet happening have been investigated by the phenomenology of Buddhism. They are directed at the stages of the same process. The conclusion from content of one temporal interval to content of another interval is based on theoretical constructions that do not have spatiotemporal characteristics. Information about the future is limited by theoretical knowledge of the holistic situation and the properties of the object that arise as a result of its inclusion in this situation.

The article is focused on the S. Lem’s perspective of the literary work as a product of the reader’s apprehension of the text in the culture discourse. The aim of the research is to describe the Lem’s view on the structure of the text; Lem’s encounter as a writer, a reader, and a philosopher is used to state the conditions and characteristics of the text interpretation. By the means of multiple introspection the author of “Philosophy of chance” devotes his research to the explanation of his model of the literary work as a product of the social-cultural existence. Moreover, the author’s aim is to state the characteristics of the text creation and interpretation. Therefore, the research shows a new, “cybernetic” approach to the text interpretation based on the comparison between the text structural characteristics and the rules of the mathematical theory of probability and the theory of information. The futurological view lies in the hypothesis about the text as a “self-learning program” (also known as a neuronet) which can transform due to the developing conditions of the interpretation process. As a matter of fact, S. Lem highlights two types of information: selective and structural. Both types might be identified in the text, but that depends on the reader, his encounter and expertise.

The scientific review deals with the understanding of the image of the mass person in the literature of the 1920s. The focus of our attention includes both the actual literary texts of the writers of this decade, as well as fundamentally important studies devoted to this problem. Historical-typological and comparative methods are chosen as leading research technologies. They allow us to study the subjective organization of prose works and create a scientific classification of the most representative phenomena in this field. Modern achievements in narrative theory are taken into account. It is widely known that in the revolutionary breakdown of the entire symbolic system of being the ratio of everydayness and non-everydayness has changed. The role of the public dimension increased, human life went out onto the street, the square, and there was a tilt towards the collectivist "we". An ordinary person found their voice and inevitably became, to some extent, a historical "figure". For writers, this person was of interest as a subject of consciousness and a subject of speech. The range of speech roles of the mass person is quite large. There is a simpleton, and a buffoon, and a joker, and a performer, and a cheat, and a singer, and a limited person, and a fool, and a teaching mentor, and a narrow-minded judge. A mass person represents himself/herself in texts in different ways: 1) in the individual lines assigned to him/her by the author, 2) in detailed monologues, and, finally, 3) in prose. In the latter case comically-colored and holistic forms of fantasy-narrative became extremely active: there was a demand for a narrator figure capable of replacing the traditional figure of an "omniscient" narrator close to the author. This narrator completely subordinates the narrative, and the phraseological point of view of the character who initiated the storytelling event begins to dominate the text. The scientific review deals with the works of M.M. Zoshchenko, P.S. Romanov, A.N. Tolstoy, V.Ya. Shishkov, M.Ya. Kozyrev, Y.L. Slezkin. At the same time, attention is paid to such opposite speech reflections of the mass person as a harmless buffoon who turns every thing and every being around themselves into a theater of life, and a severely instructive mentor, distinguished by speech aggression. All these examples show that the traditional "little person" (familiar from previous literature and becoming a "mass person" in new historical conditions and gaining the status of the initiator of storytelling) does not at the same time acquire proper personal development and reveals his or her stereotypicality and shallowness.

The article defines the specifics of the influence of ideas about Nothingness on the artistic philosophy and aesthetics of modernism. It is stated that the feeling of the "liminal" time created an ambiguous perception of the world: the mystical fear of "sinking into Nothingness" together with the "dying" world, the bitterness of the loss of the "former" world were combined with the expectation of an inevitable revival. Nothingness becomes a system-forming factor in the artistic philosophy and aesthetics of modernism. Modernism objects both to Nietzschean concept of the "death of God" and to the rational-pragmatic understanding of being. Modernist reflection on Nothingness means striving for a classical value attitude to the world, manifests the salvation of culture, the human and the divine in man, asserts the idea of the highest (in the ontological and value sense) being. Therefore, the defining position of modernist aesthetics is the assertion of the presence of the Supreme and the Sacred, one of the representatives of which in the text is Nothingness. Theorists
of modernism show interest in various traditions of understanding Nothingness in culture and master them in aesthetics and poetics. The heterogeneity of inherited traditions gives rise to a variety of poetic and philosophical concepts: the focus on cognition of the Unknowable through symbolic imagery, mytho-theurgic constructions as the basis of the “negative aesthetics” of the 20th century were combined with the ontologization of Nothingness in the chronotope of a work of art based on the convergence of archetypal oppositions and the
affirmation of the value of spiritual effort aimed at comprehending the highest meaning of existence. Thus, the category of Nothingness in the aesthetics of modernism acts as the embodiment of the ontological problematic nature of the incomprehensible world, a sign of its epistemological uncertainty, correlating the Absolute and the Incomprehensible with the Beautiful.

The modern existence of Russian families is characterized by a variety of lifestyle forms. The changing family landscape, which includes a range of blood and non-blood relatives and partners, expands the understanding of this institution, leading to broader definitions of the family and its boundaries. The purpose of the article is to analyze the dynamics of young people’s representations about family boundaries. The article attempts an interdisciplinary synthesis of theoretical and practical knowledge, namely the application of semiotic analysis in sociological research. The theoretical and methodological basis of the study Yu.M. Lotman. The empirical base consisted of data from three studies conducted using a similar methodology: 2007 (n=213), 2017 (n=132), 2023 (n=113). Using the concept of “significant family member”, the mobility of family boundaries is revealed. The respondent’s partners – young people, common-law spouses – “moved” from the periphery to the core of the family. The greatest changes occurred in the structure of family ties. The concept of S.I. Golod made it possible to theoretically substantiate the transformation of ideas about the family and its boundaries. Yu.M. Lotman's approach to the analysis of the phenomenon of borderliness complemented the ideas about the essence and functions of the boundaries of the family sphere and made it possible to theoretically interpret their dynamics. Interdisciplinary synthesis of sociological and semiotic knowledge when studying the boundaries of the family sphere seems promising.

The article proposes to expand the understanding of the fairy-tale wizard Ded Moroz (Father Frost) as a myth and cultural and symbolic image using sociological approaches. As an analysis methodology, the concept of social construction of reality was applied, which made it possible to characterize the social construct «Ded Moroz (Father Frost)», which performs numerous social functions for the adult population and additional, specific for children. The main functions include participation in the formation of national identity, traditions, political distinction, economic, educational, educational, socializing, additionally described as an incentive in projective research methods. Arguments are presented to prove that Ded Moroz (Father Frost) is not only an attribute of the cultural heritage of Russia, but also unites numerous ideas, social practices of children and the organization of the child's daily space, promotes the socialization of the modern young generation, participates in the intergenerational transmission of values and identity. The subjects and mechanisms of constructing processes, levels and possibilities of application in the periodization of childhood are highlighted. With the help of a representative empirical study of 2023 estimates by young people of the eventfulness of their childhood, including the situation of loss of faith in Ded Moroz (Father Frost) (average age 9.1 years), conclusions were drawn about social factors of stability and variability of the age of debunking the myth of the reality of the fairy-tale hero. Some hypotheses have been proposed for further research, including the new role of a «social worker and social defender» for Ded Moroz (Father Frost), the artificial lengthening of the period of trust in the fairy-tale character by the children themselves in order to receive gifts and entertainment.