Abstract: This research explores the semiotic nature of the voice in animated films and live-action cinema featuring CGI characters. It examines a fundamental paradox: despite the inherent conventionality of the animated visual, viewers perceive the voice as the most authentic, "living" element. The study deconstructs the classical notion of the animated voice as an indexical imprint of reality, identifying alternative mechanisms for creating believability. The analysis moves from Michel Chion’s concept of vococentrism—explaining the voice's perceptual priority—to the semiotic mechanisms of iconicity and rendering. It investigates non-verbal voice components (identity, emotional clarity, source material) and verbal speech, showing how recording practices become integral to semiotic meaning-making. Methodologically, the paper applies Charles Peirce’s semiotics (via Rick Altman) and Chion’s audio-vision theory. Using comparative analysis and systematization of voice-acting practices, the theoretical propositions are supported by diverse animated film case studies. The scientific novelty lies in a semiotic model attributing the animated voice's authenticity to constructed iconicity and rendering rather than indexicality, thereby conveying plausibility without exactly copying reality. The voice does not reflect reality; rather, it constructs world and character identity through internal consistency and materializing sound indices (breathing, hoarseness, vocal imperfections). Furthermore, production practices like ensemble recording and location shooting consciously simulate an indexical trace, lending tangibility to the constructed image. Ultimately, in the digital age, the animated voice is a definitive semiotic construct: boundaries between recording and synthesis blur, and cinema is no longer «recorded» with a camera, but is literally «written» on a keyboard.

Keywords: animated film, voice in animation, indexicality, iconicity, rendering, vococentrism, verbocentrism, materializing sound indices, non-verbal voice, voice acting

Abstract: What exactly was built when engineers set out to build a system that, in Satoshi Nakamoto's founding words, would work "without relying on trust"? This article takes that promise philosophically rather than technically. It argues that public, permissionless blockchains do not merely reorganize payments, property, or law – the topics that dominate current blockchain scholarship – but transform the underlying conditions of human co-existence: trust as a relation that has an addressee, community as something borne in common, and time as something that can be retold and revised. The argument extends the author's ongoing account of "archontic machines," distributed structures that govern access to truth by counterfeiting it rather than forbidding it, and claims that blockchain is this machine's ultimate form. Methodologically, the study offers a qualitative structural analysis of four completed cases – irreversible key loss and the QuadrigaCX collapse, the NFT market cycle, mining and consensus mechanisms, and the 2016 Ethereum hard fork – each checked against primary sources. Three findings organize the results. Blockchain materializes what Lacan called the big Other, an instance of total registration, while amputating its desire: verification replaces recognition, and the record becomes a verifiable simulacrum – perfectly checkable, with its relation to truth removed. Consensus counterfeits genuine community (sobornost, in the Russian philosophical tradition): concerted action achieved by eliminating the participants' singularity. The append-only ledger produces accumulation without event, structurally prohibiting metanoia. Only the living who carry the machine proved able to reverse it – once, at the price of a schism that left two irreconcilable pasts. Against the influential reading of blockchain as a narrative technology, the article concludes that it is a technology that prevents stories from being told.

Keywords: blockchain, trust, archontic machine, the big Other, verifiable simulacrum, ledger-time, antimimon of sobornost, recruitment, metanoia, philosophy of technology

Abstract: The article analyzes the Russian experience in the digitalization of the cultural sphere, the formation of which took place within the framework of the strategy of technological sovereignty and ensuring social accessibility of cultural goods. The author examines the evolution of the regulatory legal framework and traces the stages of development of key digital platforms in the cultural sphere. The article substantiates the platform approach as the technological core of digital transformation, which ensures standardization, scalability, the "single window" principle, and technological sovereignty in culture sphere. The analysis of regulatory legal documents reveals how legal regulation created conditions for the transition from fragmented solutions in the digitalization of culture to ecosystem integration. Subject of the study is the process of digitalization of the cultural sphere in the Russian Federation, examined in the context of the formation and development of digital ecosystems based on platform solutions. The work employed a comparative approach to highlight the specific features of the Russian experience in digitalization of the cultural sphere. An institutional approach was used to study the role of state institutions in shaping the digital ecosystem of culture. The use of system analysis ensured a holistic consideration of digital transformation as a set of interrelated elements: the regulatory framework, the established infrastructure, and the proposed platform solutions. The novelty of the study lies in considering the platform approach as the technological core that ensures standardization, scalability, and the implementation of the principle of social accessibility of cultural goods.

Keywords: culture, digitalization, digitalization of the cultural sphere, Russian Federation, digital ecosystem, platform approach, platform, portal, regulatory legal system, technological core

Abstract: The aim of this study is to conduct a quantitative analysis of the artworks and illustrations published in the catalogue of documenta 5 (Kassel, 30 June – 8 October 1972), in order to determine the extent to which artists employed a form-generating strategy based on the presence, within a single work, of multiple repeating elements. The analysis seeks to identify works in which identical or equivalent elements function as interrelated parts of a unified artistic statement, whose expressive meaning is determined by their aggregate and their number. The article covers eight thematic sections of the catalogue Befragung der Realität – Bildwelten heute (Questioning Reality – Pictorial Worlds Today), comprising 171 artist entries corresponding to 205 individual works. This makes it possible to examine the prevalence of this strategy both at the level of individual sections and across the exhibition as a whole. The quantitative analysis is grounded in a specially developed classification system consisting of four evaluative criteria, which allows for the identification of works in which the multiplicity performs a significant form-shaping and expressive function. The significance of the study lies in the creation of a reproducible model of analysis that can be applied to other exhibitions, catalogues, and bodies of work, thereby ensuring the quantitative comparability of the resulting data. According to the results of the analysis, approximately 39% of the works assessed exhibit characteristics of multiplicity. At the same time, the distribution varies considerably between thematic sections, ranging from 100% in the Museen von Künstlern (Museums by Artists) section to 9.7% in the Realismus (Realism) section. These results indicate that the use of multiplicity in the documenta 5 exhibition was not incidental but followed a discernible pattern, correlating both with the internal structure of individual sections and with the exhibition's overall curatorial logic.

Keywords: documenta, multiplicity, seriality, repeating elements, serial art, minimalism, conceptual art, quantitative analysis, 1970s art, curatorial strategy