No 11 (2025)

The algorithms of work on the generation of creative and design ideas for visual material used further for professional or creative purposes are investigated.The nuances of the psychological and professional aspects of creative work are studied, as well as the possibilities of a person to increase his creativity. Various domestic and foreign experience in generating creative ideas, time-tested practices, their hybrid use, as well as their own experience in this field are considered. Various aspects of the psychological properties of creative personalities when working on the generation of creative content, their interaction with information, new tools such as artificial intelligence (neural networks) are considered. As well as individual work and work in a creative team. The self-assessment of the creative product produced, as well as methods for increasing one's own creativity, are also being investigated.  A hybrid research method is used. Theoretical in the form of an analysis of existing methods of creative work and practical in the form of various techniques to improve the efficiency of visual material generation. It is explained from an expert point of view by which method the designer came to this or that creative idea, to predict what trends in the development of design can be seen in the coming decades. The shortcomings in the algorithms of the creative process are revealed. Indicates how to tune in to creative work and achieve the desired results. 1.The profession of a designer requires being a polymath, at the same time an artist, a graphic artist, a copywriter, and a psychologist, as well as knowing about many other professions. 2.And this, in turn, forces the designer to constantly keep his brain in good shape, constantly train it, otherwise it will lose its effectiveness. Master various techniques for generating creative and design content. 3.Be inquisitive, attentive and observant. Constantly record various thoughts and ideas that arise. Take pictures of the views, details, and objects you like. 4.Also, navigate the current trends of various types of art, etc. Read, watch movies, listen to a variety of musical works. But only those that are not below a certain cultural level.

The article discusses two topics. The first topic is a continuation of the contemplation of A. Davydov's book, which began in 2010. The author adds another understanding to the previously proposed explanation, which serves as a criticism of mediation. He believes that artistic creativity and the transformation of the psyche are quite capable of alleviating or removing inversion—the process where a personality splits, fractures, and oscillates between contradictions. Creativity and the transformation of the psyche, in this case, act as effective means of resolving the complex problems that arise in culture, not as a condition for achieving a middle ground (mediation), but as a process of reconciling oppositions within an individual. At the same time, the contradictions in culture generally remain unchanged. In the work, the author employs the following methodology: humanitarian and cultural-historical approaches, comparative analysis, and the reconstruction of the personalities and creativity of writers. The second topic is an analysis of two concepts of Russia's historical path and its place in Europe as the conceptual background against which Gogol's creativity unfolded. The author refers to the first concept as "missionary" and the second as "protective," which many rulers of Russia adhered to in the face of Europe. According to the missionary concept, Russia, despite its developmental lag, will eventually show the way to Europe, as it maintains a genuinely Christian spirit and other virtues. The protective concept is a complex of ideas and practical actions that guide Russia on a "special path of development," objectively generating opposition to Europe and the Western world. As a person of his time, Gogol embraced both concepts of Russia's path (missionary and protective) and wavered in this regard; as a genius writer, he represented and presented both concepts, aiding himself and his readers.

The study focuses on the peculiarities of the professional identity of music teachers. The theoretical framework is based on J. Marcia's identity status theory and L.B. Shneider's approach, which considers professionally differentiating features as markers of belonging to a community. The research hypothesis is that the professional identity of a music teacher is constructed through a system of specific professionally differentiating features: command of specific terminology, use of a specific professional lexicon, values and norms, professional myths, perceptions of alma mater, one's teachers and professional predecessors, professionally important qualities, professional skills and abilities, as well as professional superstitions. A specialized questionnaire was used as the method, aimed at identifying the specifics of professional terminology, jargon, values, norms, professional myths, the role of alma mater and the teacher, professionally important qualities, and rituals. The sample consisted of 52 teachers from the South Ural State Institute of Arts named after P.I. Tchaikovsky, representing all levels of education. The study revealed a complex, multicomponent structure of the professional identity of music teachers, formed at the intersection of three key roles: the craftsman (bearer of technique and school), the artist-interpreter (working with artistic images), and the psychologist-motivator (building personal contact with the student). A strong axiological foundation of the profession was identified, where humanistic and educational values dominate. Distinct professional markers were also discovered: specific terminology, developed professional jargon, veneration of alma mater and the teacher, a regional pantheon of "professional heroes," and a set of professional rituals. Thus, the scientific novelty of the work lies in the comprehensive empirical study and verification of the structure of the music teachers' professional identity through a system of professionally differentiating features, revealing its specificity as a synthesis of pedagogical, artistic-creative, and socio-psychological elements.

The object of research in the article is the virtualization of the space of a modern museum as a new model of communicative culture. The interpretation of the museum as a center for storing historically significant relics - forms of cultural memory for the purpose of their presentation and research acquires a more voluminous content within the new paradigm, ensuring the influence of museum communications on the real cultural process. Based on the research of well-known domestic and foreign researchers the authors the authors conduct a cultural analysis of the modern museum's modification in the context of digitalization. The purpose of the article is to prove that, thanks to network technologies, the functional capabilities of the museum have significantly expanded, and it is increasingly transforming from a repository of artifacts of the past into an open, interactive space focused on dialogue with visitors, awakening their creative activity and intellectual potential. Network forms of electronic interaction have created real prospects for the renewal and development of diverse cultural practices and social relations. The research materials and methods are based on an interdisciplinary approach to studying the processes of transformation of the modern museum as a socio-cultural institution. The methodological framework includes the theory of museum communication and the theory of representation of cultural and historical memory (“memory studies”). The scientific novelty of the study is determined by the specificity of the scientific problem itself, which is related to the analysis of the transformation of the modern museum's activities and the methodology for solving it. The study highlights the issue of the virtualization of museum space as a factor in the representation and preservation of cultural memory, examines the modification of the museum as a unique model of communicative culture, identifies its new social functions in the context of the mediatization of society and the development of creative industries, and defines the system of mechanisms for influencing society and individuals. The authors argue that the museum's interaction with new media and its virtualization are transforming the museum space into a unique model of communicative culture, enhancing its status as an important social institution in the contemporary creative economy.

The subject of the study is a comprehensive analysis of digitalization as a sociocultural phenomenon that transforms the way culture exists, as well as the ontological foundations of communication, cognition, and creativity. The study explores a new type of culture – digital culture, which represents a unique civilizational phenomenon manifested in the formation of a new value-semantic and symbolic space with specific structural and dynamic characteristics that determine its self-organization and development. Digital culture implies a fundamental change in cultural practices, communication, perception, and the entire sociocultural experience as a whole, which is reflected through the lens of G. M. McLuhan's concept with his thesis “The medium is the message.” Significant attention is paid to identifying the internal patterns and structural organization of digital culture through the concept of “cultural architectonics” by E. E. Drobysheva, who interprets culture as a holistic self-organizing system in which structural, dynamic, and value aspects are interconnected. The focus of the research is the digital space of culture, which fits into the methodological framework of G. M. McLuhan's concept, representing digital culture as a fundamental change in the way cultural information is recorded. The methodological basis is the concept of “architectonics,” conditioned by the necessity to analyze the immanent logic and patterns of cultural development, allowing it to be viewed as a holistic self-organizing system. The scientific novelty lies in the systematic application of the architectonic approach to the analysis of the digital space of culture as a holistic self-organizing system. In particular, its structural-morphological and functional-dynamic aspects with a forming value-semantic core have been identified and characterized. The application of the architectonic approach in this context appears to be the most heuristic, allowing for the identification of stable interconnections and systemic patterns in the processes of functioning, constant reformulation, and reconfiguration of the digital space of culture. This approach offers a holistic model for understanding it, uniting structure, dynamics, and value foundations into a single theoretical framework. It expands the possibilities for the comprehensive study of contemporary cultural transformations in the era of digitalization, providing a deeper understanding of the interaction of technological, social, and cultural processes in the formation of the digital environment and the new cultural context.

The research topic is the development of Shanghai's "Western Art Societies" in the first half of the 20th century and their role in the establishment and localization of oil painting in China. The object of the study is the activities of art societies in Shanghai that operated outside the academic system and influenced art education, exhibition practices, stylistic transformation, and public perception of oil painting. The author examines the following aspects in detail: the historical evolution and organizational mechanisms of the functioning of Shanghai's "Western Art Societies"; their contribution to the dissemination and popularization of oil painting, as well as to the enhancement of academic education; the role of societies as intermediaries in the formation and transformation of artistic styles. Special attention is given to analyzing the multifaceted role of these societies as educational and cultural centers, platforms for creative experimentation, and bridges between art, society, and state ideologies. The research methodology is based on an interdisciplinary approach that includes historical-chronological analysis, iconographic methods, and comparative art historical research. This complex of methods allows for the identification of both the artistic features of the activities of Shanghai's "Western Art Societies" and their socio-cultural significance in the process of forming a local tradition of oil painting. The main conclusions of the study are that Shanghai's "Western Art Societies" played a role not only as intermediaries in conveying Western artistic styles but also as active participants in the process of their localization and nationalization in China. The author concludes that it was precisely due to the collective activities of these associations that Shanghai oil painting acquired specific regional characteristics and became an important element of the cultural modernization of the 20th century. The author's unique contribution to the study of this topic lies in the systematic analysis of "Western Art Societies" as a collective phenomenon, rather than just focusing on individual artists or institutions. The work demonstrates that these societies fulfilled the functions of art education, public enlightenment, and the formation of a social environment in which the transformation of artistic language occurred. The novelty of this research lies in the fact that it is the first comprehensive examination in Chinese historiography of the relationship between academic education, the activities of art societies, and the processes of socio-cultural adaptation of Western painting in Shanghai.

The article is dedicated to a comprehensive study of felt – a unique textile material with a millennia-long history. It explores its evolution from ancient wool felting technologies of nomadic people to modern industrial and design solutions. Special attention is paid to the functional and cultural aspects of felt application in different historical periods: from utilitarian use in everyday life and military affairs to its symbolic significance in fashion and art. The modern spheres of application of the material are analyzed, including the textile industry, interior design, hand-made and technical sectors, as well as its role in the context of eco-friendliness and sustainable development. The influence of global trends (conscious consumption, digitalization of production) on the development of the felt industry is examined in detail. A special emphasis is placed on regional features of felt production and use in different cultures, which allows tracing its adaptation to local conditions and traditions. The study employs historical, comparative and sociocultural analysis, as well as the examination of the technological and economic aspects of felt production and application. The novelty of the research lies in the systematization of disparate data on felt, covering its historical transformation and modern trends. It has been established that felt maintains its relevance due to a combination of traditional qualities (strength, thermal insulation) and adaptability to innovations (eco-materials, composite technologies). Promising directions have been identified: increasing demand for specialized types of felt (bamboo, recycled), its role in import substitution and creative industries. The findings of the work can be applied in the textile industry, design, and educational programs on the history of material culture. For the first time, a comprehensive classification of factors determining the future of the felt industry is proposed, including technological breakthroughs, changes in consumer preferences, and ecological requirements. The analysis of the Russian felt market under current economic challenges is of particular value, making the research practically significant for domestic producers.

The object of the study is the piece for guzheng solo “Man of the Рen” (2010) by the famous contemporary Chinese composer and photographer Fang Dongqing (1981). The composer interprets the concept of “man of the Рen” (“mo ka”) as the most important component of the ancient Chinese cultural phenomenon of wenren - an educated person, an intellectual who masters the arts of calligraphy, painting, poetry, and music. The subject of this study is the features of the refraction of calligraphic art in Fang Dongqing’s work. The synthesis of the spatial-visual and musical-temporal in the piece is due to the composer’s natural ability to synesthesia. The composer relies on the centuries-old traditions of ancient national art - calligraphy, guzheng music, classical poetry and the Beijing opera. The musician considers the interaction of calligraphy and music at different levels. 1. At the level of expressive means: tempo-rhythm, reflecting both the speed of the brush on the paper and the acceleration / deceleration of the metric pulsation in music; melody, determined by the smoothness and expressiveness of lines in visual and temporal arts. 2. At the level of interpretation of national literary and poetic traditions: the author refers to classical works, quoting in the preface to the work the lines “Chang Yang Fu” by the ancient Chinese poet and philosopher Yang Xiong and the poem “Banquet in the Hall of Hu Shi Yushu” by the classic of Chinese poetry Du Fu. 3. At the philosophical and aesthetic level: the process of calligraphic writing is preceded by a stage of emotional and psychological “tuning” associated with Buddhist meditation and breathing exercises. In the musical text of the work, it was possible to identify four sections corresponding to the stages of traditional calligraphic writing: immersion, coloring, dissolution and splashing of ink.