The article focuses on the issue of introduction of AI technology into the modern journalism. The topic proves to be of relevant importance as both mass media and press services reveal their direct dependence on the technological development level of the human society. It means that any new relevant technology can change the whole system. The objective of the article is to research the issue of Artificial Intelligence introduction into the modern journalism. The authors consider the history of the “smart machines” creation. Furthermore, they describe the current situation in the sphere of journalism, bring some specific examples of the existing and the projected systems and highlight the areas of possible practical application and the development prospects. They also obtain information on the main principles of the operation, the algorithms, the goals and the capabilities of the machines. In addition, the authors consider the advantages and the risks of this state-of-the-art technology, analyze the cultural and the psychological aspects of its mass introduction, make predictions concerning the prospects for the further development of this sphere, consider different scenarios of its development and identify the challenges and the advantages for the profession of a journalist. In conclusion, the authors state that despite the fact that AI in journalism is a mass phenomenon, all the projects of the introduction of Artificial Intelligence are not currently posing a direct threat to the profession. However, the fact that the mass media of different countries are starting to actively apply AI in journalism, emphasizes the relevance and the importance of further research in this sphere.

No abstract

The reality in the works of H. P. Lovecraft is described as strange, inhumanistic, and alien to the mankind but it is not mystical. On the contrary, the creations and events described by the writer are presented as material facts of the world. In modern philosophy following Graham Harman this view of the world is called weird-realism or weird-materialism. This paper explores one of the media used in building Lovecraft’s ontology and proposes a philosophical and cultural analysis of the new concept of The Sound Out of Space in Lovecraft studies to describe the audial medium of the weirdontology and weird-epistemology of H. P. Lovecraft. The name of the concept should refer to the headline of the famous work of the writer The Colour Out of Space (1927). The concept in the text is presented through the poetics of sound, which is the whole set of ways of representing the audial field. The article consists of the introduction with a brief historical overview, the methodological study of sound as an otherworldly medium, sound mapping of the story The Outsider (1921), the analysis of the narrative meaning of sound, discussion of the results gathered and the conclusion. The research hypothesis assumes that different media of the Lovecraftian weird-materialism have different properties and implement different modes of access to the truth of weird-reality, and their understanding can add something new to the knowledge about the strange ontology of the writer. The authors develop a phenomenological typology of sound adapting the methodology of Michel Chion and embedding it into the context of the poetics of the Lovecraftian universe. The resulting three groups of sounds represented by six types of sounds are used to describe the concept and are applied to the story The Outsider. The results show a remarkable distribution of certain types of referenced sounds within the plot composition of the story. This makes it possible to supplement the ideas about the features of the world of the story and the internal state of the protagonist, as well as to interpret the denouement of the plot more fully in the context of Lovecraft's epistemology. The poetics of Lovecraft's sound is closely connected with other means of representing the strangeness of reality, its weird-materiality. At the same time, sound as a unique medium offers specific opportunities for creating artistic images, an atmosphere, and displaying the writer's philosophical intention. This strategy of sound research of a literary text can be applied to other literary works.

Philologist Olga Alieva studied the formation and development of the protreptic and parenese genres in ancient Greek and early Christian literature within her PhD thesis. Later, she taught ancient languages at the Yuriy Shichalin's Museum Graeco-Latinum Classical School, and since 2013 she has been working at the HSE School of Philosophy. The book under the headline “Philosophical text in antiquity” is a continuation of the research that took place from 2014 to 2017, revised for publication in this form in 2022. The book is composed of seven lectures covering the form and content of the ancient philosophical text, the dichotomy of written and oral word in ancient Greek culture, the relationship between ancient science and philosophy, poetry and prose, myth and logos, the features of the rhetorical situation and the object of the text, its purpose, the status of the author and the publisher. Of course, a much longer list of problems is addressed, but let's not forget that the main content of the work, without the preface, the appendix, which is also very interesting in itself, a nominal index and list of references, occupies only one hundred and thirty-three pages. And here the question arises: how suitable is the lecture genre for disclosing such extensive material in a very limited framework? The solution is the lecture genre itself, which always assumes that what the author is going to tell will be too voluminous and one will have to deal with the management of available facts, evidence and data. This review shows that Olga Aliyeva's style of data composition is a worthy example of such work, which turns a lecture into an adventure.