Nikolai Aleksandrovich Berdyaev is one of the most famous Russian philosophers both in Russia and abroad. The purpose of the article is to identify the content of the philosophical category of “space” in the works of N.A. Berdyaev. Philosophers of the Russian diaspora often addressed the topic of spaces, their boundaries, and their influence on o consider the history of the use of the category of “space” in Berdyaev’s work, but also to analyze the very way the philosopher works with this category. The study of the problem was carried out based on the methodological approach of B. Groys to the analysis of the category of space. This approach allows us to analyze “space” in Berdyaev’s texts as a funcan individual and society. The main sources for the study are such texts by Berdyaev as “The Fate of Russia” (written before emigration) and “Self-knowledge” (created in emigration). The article attempts not only ttional “emptiness” within which the subject is constructed. Its application makes it possible to carry out stratification and trace a certain evolution of the content of the category “space” in Berdyaev’s philosophical works. The article highlights such varieties of the category “space” as: geographical space, internal and external space, space of the West, space of the East, space of Asia, space of Russia, space of freedom.

Throughout the 20^th century, the professional scientific community has been steadily paying attention to the problem of the crisis of the humanistic tradition. Socioeconomic transformations, in turn, lead to a shift in the scientific paradigm – the need to reconsider the possibilities and boundaries of knowledge, as well as the principles and approaches to research. An interdisciplinary approach, as one of the ways to solve the problem of differentiation of knowledge, is now considered as a methodological guideline. One of the most relevant interdisciplinary fields today is the study of posthumanism. Thus, there is a need to rethink and revise our attitude to classical humanism. Within the philosophical system of Vladimir Veniaminovich Bibikhin in the 1990s, the concept of the “New Renaissance” emerged, which defines the Renaissance as an event that is repeated many times in the history of culture, the fascination with which becomes a key aspect of the Renaissance impulse – the re-actualization of the Renaissance of “ours” and “new”. The central concept of the Renaissance – humanism, is purified by V.V. Bibikhin from historiographical layers, which allows us to see in it not a sign, but a meaning. Within the framework of the article, it is supposed to compare the concept of V.V. Bibikhin with the ideas of posthumanism in the 21^st century. We will follow an interdisciplinary approach, apply the methods of comparative analysis, synthesis, discourse analysis.

The article is devoted to soviet architecture and its aesthetic role in the cultural space of a provincial city. The problem of the specificity and origin of the “Stalinist Empire” in Voronezh and its aesthetic role is still remain poorly studied and meanwhile this is an extensive and invaluable layer for the history of architectural styles, significantly expanding the understanding of the culture of our country in those years. The first part of the work reveals the problem of the origin of the “Stalinist Empire” style and based on the analysis of various sources and architectural structures of that time, a number of its distinctive features were compiled. The second part is devoted to the talented representative of the Voronezh architectural school of the 20^th century A.V. Mironov who created and restored many houses and buildings in this style after the war, and afterwards became a successful lecturer of the “art of construction”. In the last part Voronezh State University of Forestry and Technologies is chosen as a striking example of the work of the architect. Its stylistic and aesthetic originality is analyzed.

The article describes the national Khakass female amulet “pogo” as an object of intangible cultural heritage of the indigenous people of the Republic of Khakassia. The uniqueness of “pogo” lies not only in the unique technique of making this product, but also in the sacred meanings of the decoration, dating back to ancient times. The article examines the traditional purpose of a unique ethnographic object, provides information about the custodians of this ethnocultural heritage of the Russian Federation – museum and cultural institutions. It also describes the technology of its manufacture and modern options for use by representatives of creative industries. Today, unique items of clothing and everyday life of the Khakass and Shors stored in museum collections are of interest to artists-decorators and fashion designers, thanks to whom the Khakass sacred decoration, included in the register of intangible cultural heritage of Khakassia, does not go unnoticed. Stylized and archaic versions of it are presented on European catwalks and exhibitions.

The lyrics of rock songs, unlike commercial entertainment pop music, often touch upon the most burning socio-political issues. Indian rock artists are no exception. So, the study of rock music can lead to broader understanding of different socio-cultural processes in India in general. This article presents a study of the rock genre in India, including the emergence and evolution of rock music, as well as the studies of the lyrics of local rock bands. Due to the influence of various socio-economic factors we can outline two main stages in the development of rock music in India: from the 1960s to 1980s and from the 1990s to Today. The initial protectionist course of the Indian government in cultural and economic spheres significantly limited the influence of the West and one of its product – rock music, but with the beginning of economic liberalization in the mid-1980s, cultural exchange between Western countries and India gradually expanded, that led to attempts by musicians to protect their culture from Westernization and to seek inspiration in their own religion, folklore, poetry in local languages, as well as reflection on such issues as separatism, caste and religious segregation, climate change, the status of women.

The theater space, which is sociocultural in terms of its existence and has a certain value for collective perception, has not lost its importance for the study of regional culture in Russia in the 21^st century. The artistic representation of reality, its transformation into a semantic sign system of an epoch, region, and people, makes the theater an ideal object of cultural research. The specificity of the mobility of the regional theatrical environment, which ensures its vitality, and the possibilities of modern communication, allows the researcher to not only identify and show the features of regional culture reflected in theatrical art, but also to trace trends affecting the state of regional culture and society as a whole. The energy and mobility of regional theaters forces the researcher to expand the range of methods, not to limit himself to the analysis of ethnocultural features and regional identity, since we are talking about the spatial dimension of culture and socio-cultural dynamics. Understanding the connection between theatrical practice and the value orientations of society determines not only the external contours of culture, but also the layer of the human spiritual world, which allows modern researchers to most accurately characterize the value-semantic dominants of regional culture, which are embodied in the phenomenon of regional theater.

The article deals with features of the representation of memory of childhood in the 1990s in Russia in the digital space. The analysis was based on different types of social media: groups on the social network VKontakte and personal blogs on the LiveJournal platform. The formal characteristics of the representation of memories on the Web are considered and the specific features of publications in each type of media are identified. On the VKontakte social network, we find a simplified narrative in publications about childhood in the 1990s, where entertaining visual content that reproducing nostalgic discourse prevails. While personal blogs on the LiveJournal platform are digital diaries with detailed autobiographical narratives, where there is a place not only for nostalgia, but also for critical reflection on the experience gained by users in childhood. The content of the publications is also analyzed. The analysis revealed six key themes that summarize childhood in the 1990s: everyday life of the past; leisure; media culture; conceptualization the experience of a generation; historical events; subcultures.

The concept of “artificial intelligence”, which is firmly entrenched in the information space of society, has received a positive connotation on all the platforms discussed and in government documents due to its technological nature and the orientation set by the creators towards a serene future for humanity. A quick search for the necessary information, personal mentor services at any time of the day, and the tempting prospect of getting rid of routine work quickly turned into the expectation of getting rid of any work at all. The appearance of the first versions of the GPT (Generative Pre-trained Transformer) chat has clearly demonstrated the demand for students to delegate learning tasks to artificial intelligence (AI), including creative ones. The ability of AI to process data arrays, bring to a common denominator and rationalize assessment systems, strengthen the control component, and create simulators close to real working conditions is certainly a worthy help in working with students of any level of education. However, the “side effect” is the loss of intellectual and creative abilities that make up the essence of human nature, which is reflected in the discourse of modern socio-humanitarian knowledge along with the problem of AI penetration into the educational space. Nevertheless, the process of introducing AI into human life, which has gained momentum around the world, cannot be stopped, but there is a chance that, understanding the risks and accepting the challenges, the pedagogical and expert community will find a solution that will allow for a certain balance between AI and humans, especially when it comes to children and youth. having sufficient cognitive plasticity.

This article analyzes the monographic exhibition project devoted to Russian tile art implemented in the State Historical Museum. The exhibition was opened in 1980 in the halls of the Choir Hall of the Moscow Novodevichy Convent which at that time has been a branch of the SHM. About two thousand tiles most of which belong to the Historical Museum, and also about fifty other objects of decorative and applied art from the SHM funds and about a hundred slides were presented at the exhibition.
The author examines unpublished archives of the Department of Ceramics and Glass, of the Department of Written Sources and of the Department of Accounting of the Historical Museum and the real monuments from the fund of tiles of the SHM, provides a characterization of approaches to the exhibition of the tiles.
The author concludes that the exhibition “Russian tile” is a significant stage in the history of the formation of ideas about the tile as a subject for exhibiting as a result of research. The concept of the exhibition, aimed at showing the tile as works of decorative and applied art is relevant to its time and provides opportunities for further study and exposure of the Russian tiles based on a modern approach to this as a historical source.

This article is devoted to the analysis of exhibition practice of the State Historical Museum in the field of exposition of numismatic monuments. In recent times, there has been a positive trend in modern museum practice towards the most active use of coins in the exhibition space of museums in general and the Historical Museum in particular. The example of the permanent exhibition of State Historical Museum illustrates the traditional approach to understanding and exhibiting numismatic material, which consists in presenting coins primarily as monuments of money. The projects of the Historical Museum from the first large numismatic exhibitions to the modern ones reveal the process of development and formation of new thematic directions of exhibition of coins, expansion of their exhibition possibilities. Using the example of exhibition projects of State Historical Museum, the article illustrates the transition from the exposition of numismatic monuments as sources on the history of money circulation to a deeper understanding of money as a global historical and cultural phenomenon. The museum’s understanding of numismatic material from the collection of the State Historical Museum formed in recent years, a new approach to the exhibition of numismatic objects has revealed the coin’s wide scientific and cultural potential as a historical source.