Semiotic studies

In the context of the development of generative artificial intelligence technologies, the article raises the question of whether it is sufficient to reproduce the methods of human meaning generation for inventive creative activity. It is shown that the answer to this question depends on the understanding and representation of the result of creative activity. The result of creative activity should be presented in a specific language, and this language becomes sufficient for presenting the invention as a result of engineering activity. In the course of reasoning, we turn to semiotics, the task of which in this case is to select linguistic methods for representing the results of engineering creativity, rules and constructions that are effective for the development of generative artificial intelligence and suitable for human interpretation. A concept is proposed that assumes that a specific technical means of the genesis of semiosis of engineering creativity should be singled out as a semiotic basis for intellectual engineering. To create such a means, it is necessary to additionally implement software services for stimulating inventive activity, containing concepts of existing solutions to engineering problems for conveying the accumulated experience. Inheriting specific cases of engineering problems from these concepts, it is possible to construct a sufficiently branched tree of solutions, the intersection of whose branches contributes to the emergence of the semiosis of engineering creativity as the neural substrate of the language of intellectual invention. The application of the proposed concept in practice can become the organizational basis for the implementation of artificial intelligence capable of technical creativity.

An episode from the discussion of N.G. Chernyshevsky’s article The Anthropological Principle in Philosophy is considered. It is shown how D.I. Pisarev defended the materialistic worldview against his opponents’ criticism. The study sets out the following tasks: 1) to identify the relevant ontognoseological ideas of D.I. Pisarev for contemporary ontology and theories of cognition; 2) to examine the principle of partisanship in philosophy using examples from Pisarev’s works. The aim of the study is to clarify the specific features of Pisarev’s philosophical views and to justify his relevance as a thinker. The methodology is based on the principle of partisanship, i.e. the classification of philosophical systems within the paradigms of idealism–materialism and dualism–monism, according to which the philosopher’s ontognoseological views serve as the foundation for his political, anthropological, ethical, aesthetic, and other ideas. The primary sources analyzed are texts by D.I. Pisarev in which he defended Chernyshevsky’s position in the discussion of the anthropological principle. Texts by other thinkers with whom Pisarev engaged in polemics, such as P.L. Lavrov, P.D. Yurkevich, and others, are also taken into account. The study’s novelty lies in showing that the principle of partisanship in philosophy does not vulgarize the understanding of ontological and gnoseological problems, but rather helps reveal the nature of ontognoseological questions. The study also highlights the anthropological turn in Russian philosophy in the 19th century. The conclusion emphasizes the high significance of D.I. Pisarev for both Russian and global philosophical thought, particularly in the fields of ontology and gnoseology

The scientific review examines the origins of the concept of perspectivism in the scientific works of Professor N.T. Rymar and the development of this concept in his later works. Perspectivism is understood as a process of creative activity that arises in a dialogue between the personality of the artist and the languages of culture and creates a dynamic architecture of the art form. The review analyzes the aspects that reflect the idea of perspectivism: novel structure, creative activity, boundary, perspectivation, narrative perspective, and metanarrative.

This article examines the ways and forms of the transition of the descriptive text in Leonhard Frank’s novel The Oxenfurt Male Quartet into the stage directions of the author’s staging The Male Quartet. 
In L. Frank’s novel The Oxenfurt Male Quartet, a variety of characters are vividly presented, each of whom carries a unique internal conflict. The descriptive text of the novel allows the reader to better understand the motivation of the characters and their relationships, creating a system of multi-layered images. However, in the stage directions of the author’s staging The Male Quartet, this process is transformed, conveying not only internal experiences but also visual images. The entire body of stage directions clearly breaks down into those oriented toward the stage solution (addressed primarily to the director), those that supplement off-stage events and "complete" the plot, and those that enable the actor to more accurately construct the internal content of the image. The transition from descriptive text to dramatic structure inevitably transforms the original concept of the work, its structure, and main plot lines.

The purpose of the article is to study the role of pictorial ekphrasis in the subjective structure of the lyrical text. The chosen direction allowed us to consider the relationship between different types of art, to reveal the possibilities of the poetic word in conveying pictorial images, and to problematize the boundaries of the subject/addressee/reader in the text. Based on the material of the non-authorial lyrical cycle by 
S. Gandlevsky: "Cigarettes are a small hell" (1973), "It was so sad, as if we were step by step..." (1976), "Usually three blows are enough for me" (2012), the perception of Bruegel’s painting "Hunters in the Snow" by the lyrical subject is examined. It is shown that in each of the poems the point of view of the lyrical subject changes, and accordingly the perspective of understanding the picture, immersion in the world created by the artist, and generation of a "one’s own" world. Self-identification of the lyrical subject occurs through involvement, living through Bruegel’s plot to estrangement.

The article is devoted to the identification of trajectories of choices in the biographies of heads of non-state confessional drug rehabilitation centers, whose life paths include periods of personal drug addiction, experiences of successful rehabilitation, and stages of ministry as assistants and heads of rehabilitation centers. The events in the personal biographies of the respondents are considered as a spectrum of points of social uncertainty, in which choices had to be made, influencing the determination of the further direction of their life paths. The use of the biographical approach, together with the sociology of the life course and the concept of agency, allows us to consider choice as an active position in the construction of one’s own life trajectory  through the rejection of previous paths and the acceptance of new ones, as well as to study the process of formation of resources necessary for making decisions that influence the direction of the respondents’ life courses. Based on the analysis of a series of 20 in-depth interviews with the heads of non-state confessional drug rehabilitation centers, the key moments of making choices in the respondents’ biographies were identified, and the resource base – including the personal experience of drug addiction and successful rehabilitation – was determined. The formed agency is the basis for the choice of further ministry in the field of rehabilitation, agency.

This article presents the analysis of the semiotic aspects of Rostov-on-Don’s cultural code through the lens of its historical, cultural, and social changes. The semiotic methodology used in the article helps in examining the city’s cultural code. This analytical tool serves as a source of understanding its cultural and social components. The city appears to its inhabitants and guests as a space whose development is based on human activities. Therefore, the range of its measurement is formed by the relations between actions and phenomena, subjects and objects. It should be recognized that such semiotic studies play an important role in understanding the distinctive features of the city’s image. The author believes that the city’s residents and the city itself create bilateral communicative relationships through interaction with the physical, cultural, and social environment of the space. The evolution of urban space – from the foundation of the fortress of St. Dmitry Rostovsky to modern urban and digital practices – is considered. Particular attention is paid to the influence of glocalization, urbanization, and digitalization on the formation of new meanings. The results of the study show that the semiotics of Rostov-on-Don is a dynamic palimpsest, in which the imperial, Soviet, and post-Soviet heritage, as well as the global trends of the New Age, intersect.

The increasing integration of artificial intelligence (AI) into the domain of text production challenges the traditional boundaries of authorship. This paper examines whether AI systems can be considered co-authors of texts created in collaboration with humans. We explore this question from cultural, ethical, and philosophical perspectives, drawing on current frameworks in copyright law, literary theory, and digital humanities. 
The study employs an interdisciplinary methodology, analyzing selected cases of AI-assisted textual production across academic, artistic, and journalistic domains. Particular attention is given to the extent of AI’s semantic contribution and the human agent’s role in directing, editing, or curating the outcome. While current legal systems attribute authorship solely to human individuals, the increasing sophistication of AI tools necessitates re-examining this paradigm. 
Key issues addressed include the legal non-personhood of AI, the difficulty of attributing creative intent, and the implications of AI-generated content for intellectual property frameworks. We discuss models such as extended authorship, distributed creativity, and networked authorship, suggesting that these may better reflect the hybrid nature of human–AI interaction. 
We conclude by recommending a context-sensitive, field-specific approach to authorship in AI-mediated creativity. A dialogic framework involving legal scholars, content creators, ethicists, and developers is proposed to develop adaptive guidelines that balance innovation and intellectual responsibility.

The paper reviews Dessauer’s key ideas related to the philosophy of technology, the interaction between humans and technology, and the concept of the "fourth realm" of technology, which is interpreted as a new form of being created by humankind. The authors of the review emphasize the relevance of Dessauer’s ideas in the context of modern technological challenges, such as the development of artificial intelligence technologies, biotechnology, virtual and augmented reality, and others. Special attention is paid to the role of technology as a creative and destructive force, as well as its influence on the transformation of human perception of reality and human relations with the cosmos.
Special attention should be paid to the contribution of the translator A.Yu. Nesterov, who not only preserved the stylistic and terminological features of the original, but also made the text accessible to the Russian-speaking audience by providing it with explanatory comments.
Dessauer’s book is presented as a key text in the philosophy of technology, which continues to be relevant in the era of contemporary technological development, which is changing both our lives and our understanding of ourselves. The review raises questions about the limits of human control over technology, the ethical implications of its development, and the possibilities of applying the concept of the metacosmos to the analysis of contemporary technological progress.

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