Abstract: The article is devoted to the study of the problems of building a knowledge system capable of becoming the basis for the functioning of creative artificial intelligence capable of solving creative problems. The key question, the answer to which determines the possibility of building such a system, is to determine the rationality of the creative process, i.e. the possibility of its formalization within the framework of deterministic methodology. If it is possible, it is also possible to build a knowledge system that can become the basis of creative artificial intelligence. The theoretical basis for this construction can be the general theory of systems, but not in the form in which it exists at present. The successful development of the general theory of systems, which allows us to comprehend the phenomenon of creativity, requires the expansion and systematization of existing knowledge about the manifestation of isomorphism in the universe: the creation of representative collections of patterns, primitives, and secondary laws, reliably confirmed empirically, but not fully deterministic. The article chooses cognitive systems, which include all autonomous cognitive systems (both animate and inanimate; both intellectual and non-intellectual) endowed with self-consciousness, as the object of research. The determining mechanism of knowledge systematization for creative artificial intelligence is the mechanism of multisystem integration of knowledge, which is based on the integration of knowledge from different subject areas, from different levels of the universe organization for their generalization and use outside the areas of their identification for solving creative tasks. An important tool of low-level generalization of data and knowledge in general, which is one of the sources of formation of systemic holistic knowledge, are neural schemes reflecting elementary relations between elements of one system, as well as typical relations of elements in different systems.

Keywords: determinism, general systems theory, multi-system integration, neural circuits, creativity, self-awareness, creative artificial intelligence, cognitive systems, knowledge system, neural net

Abstract: Confucian ideas are deeply rooted in Chinese traditional culture, having played a crucial role in the formation and development of China's traditional musical art. This research focuses on the historical evolution and modern transformation of Confucian musical thought, systematically analyzing the philosophical content, social functions and practical value of its theoretical system in the context of various historical eras. The work is developing in three key areas: The first part is devoted to the theoretical system of ancient Confucian music, examining how ancient Confucianism integrated music into the cosmological paradigm of the "unity of Heaven and man", forming an ethical and pedagogical system based on the triadic system of interaction "sound - emotion — virtue"; the second part is devoted to the Philosophy of Confucian music in the era of modernization, An analysis of the theoretical reconstruction of Confucian musical philosophy in the context of the modernization turn of the New Age, where the traditional "ritual-musical system" (礼乐制度) was transformed under the influence of Western rationalism and technocratic civilization into the "aesthetics of spiritual nature"; the third part is devoted to practical value in modern society, the study of ways of creative transformation Confucian music theory in the context of globalization and digital technologies through the prism of cultural management, educational practices and environmental ethics. The present study overcomes the one-dimensional historical and philosophical narrativization, revealing the immanent logic of "variability-immutability" of Confucian music theory through a triad of methodological perspectives: philosophical ontology, political sociology and cultural praxeology. These conclusions form the theoretical basis for the reinterpretation of traditional cultural resources in the context of modernity, while simultaneously offering epistemological guidelines for the rehabilitation of the humanistic dimension in the era of technological determination.

Keywords: Chinese Culture, Music Culture, China, theory, ritual-musical system, Confucian musical theory, culture, music, philosophy, Instant

Abstract: In this article, the authors continue to develop a new ontological perspective outlined in previously published works, in which the descent of a Single Super-Being into the Super-Existence of a personal God occurs without any will on the part of the deity: being due to the freedom imputed to the Absolute to be or to be in both of these states at once, and the Absolute and its other Non-Existence, reflected in each other like systems of two mirrors installed in parallel create a world of many things through successive reflections in each other, similar to the negation of negation: not-not the Absolute = the Absolute itself, which revealed Itself and began to be a personal God, or, in the Neoplatonic scheme, the second ontological level of the existing Mind (Nusa). Further descent through the Neoplatonic levels of the ontology of Mind>Soul>According to the concept we are developing, people follow the same pattern of "negation-negation" of mutual reflections: The Mind, denying its own disappearance, will generate a Soul, the Soul will embody ideas into things so as not to disappear, which leads to the abandonment of the need to immerse ideas in the chorus.    In this publication, the authors want to propose a new model for revealing the ontology of the divine through mathematical analogies. The use of mathematical and geometric analogies in the interpretation of divine existence is found more than once in history (for example, in Nicholas of Cusa), however, the classical experiments of "mathematical theology" were formed long before the cardinal paradigm shifts in mathematical science and therefore need a qualitative update of their application as an illustration of the ontology of Reality developed by the authors, as a self-knowledge of the Word generated by God-ideas about the world through the existence of the Cosmos. Based on the conducted research, the authors come to the conclusion that successive acts of self-knowledge of Reality and the development of being in the ontological time of the observable universe occur in parallel, which is precisely reflected in the coherence of a pair of numbers-names: the imaginary number of the act of self-knowledge of Reality corresponds to the real number of the moment of time in the existence of the world. Thus, the authors conclude that the ontological time of the universe is discrete, and the existence of the world appears as separate frozen frames of the state of the universe at a time corresponding to a numbered act of self-knowledge of a Given. The scientific novelty of this approach is self-evident.

Keywords: Genesis, ontology, a given, Platonism in mathematics, Philosophy of mathematics, imaginary numbers, mathematical analogies, Cosmology, The Absolute, Godel

Abstract: The subject of this study is the problem of individuation of a living system (ontogenesis of a vital individual) considered by the French philosopher Gilbert Simondon (1924–1989), which is the process where life arises and perpetuates itself. Simondon argues that individuation in a living system is carried out within itself. A living system is defined by its external boundaries and its internal processes, which are constantly adapted to both the environment and the internal structure. In addition, biological individuation is the organization of a solution, namely, the resolution of an objectively problematic living system. This solution should be understood as an internal resonance, the most primitive way of communication between realities of different orders. Therefore, we believe that Simondon managed to turn internal resonance into an extremely rich scientific and philosophical concept suitable for the explication of a living system. The research methodology includes such general scientific approaches as the descriptive method, the categorization method, the analysis method, the observation method and the comparative method. It should be noted that this article has an exploratory character, oriented towards understanding Simondon's philosophy and its relevance today. Moreover, it is aimed not only at understanding the living system as non-identical to itself, but also seeks to show that we think about life within the framework of Simondonian non-reductionist materialism. In this regard, the living system is transformed both from the inside and from the outside. All the contents of its internal space are in "topological" contact with the contents of the external space. In conclusion, the author argues that reflecting on the nature of the living system is tantamount to searching for material ontological conditions of individuation in Simondon.

Keywords: materialism, hylomorphism, pre-individual reality, transduction, individuation, vital individual, living system, Merleau-Ponty, Simondon, continuum

Abstract: The article examines the phenomenon of the synthesis of arts, the main connecting element of which is architecture. However, the synthesis of arts today increasingly interacts with the technosphere. This contains both the corresponding "threats and challenges". The research methodology is based on a combination of theoretical and empirical methods, including general scientific methods of analysis and synthesis, dialectical approach, method of intellectual speculation, modeling, project method, pedagogical and artistic-creative experience. The synthesis of the architectural space and painting, which in their totality represent an empirical test of the methodology of "integrated thinking" and substantiation of the author's vision of the synthesis of arts i made by the author. A "model - diagram" of the synthesis of arts using the synthesis of primary colors as an example is also made in the article. As a result of the analysis of the synthesis of arts through the prism of dialectical opposites: form-content, part-whole, quality-quantity, necessary-random, the fundamental significance of the integrative feature of art is revealed and substantiated. The study established that the synthesis of arts in architecture is possible on the basis of their complementary qualities, which allows achieving a measure of monumental gestalt - a unified integrity of a new order with a set of sought-after properties. A generalization was made that architecture is the basis of this synthesis. It was revealed that the synthesis of arts is both a purely human ability to recognize, understand and interpret meanings, and an activity to create them. The integration of classical synthesis of arts with the technosphere is becoming a necessary step in the process of transformation/evolution of our subject of research as a result of the emergence of new tasks and the development of the corresponding tools.

Keywords: semantic image, value, integrated thinking, ensemble, complementarity, knowledge, consciousness, synthesis of arts, architectural and artistic space, architecture

Abstract: This article explores the aesthetic and philosophical concepts that Ke Jun, a contemporary kunqu performer, has developed over his career. Ke Jun is one of the most prominent and active representatives of contemporary kunqu, having created his own unique artistic language over more than two decades. This language combines elements of both traditional and avant-garde approaches. Throughout his career, Ke Jun has been studying the deep foundations of traditional kunqu while actively incorporating elements of Western classical music and theater arts. The article starts with a brief introduction to Ke Jun, highlighting his extensive experience in traditional kunqu. It then discusses the expressive power of the avant-garde kunqu operas that Ke Jun has created and performed throughout his career. Finally, the article analyzes two key elements of Ke Jun's aesthetic and philosophical concepts: the dialectical relationship between tradition and the avant-garde, and the connection between the avant-garde and humanistic spirituality. The novelty of this article lies in its multifaceted interpretation of Ke Jun's performance experience and innovation from the perspective of his micro-artistic life history. The article argues that Ke Jun deserves high praise for his achievements in performing and preserving the historical heritage of traditional kunqu opera. His avant-garde works not only transform the traditional classical flavor of Chinese opera but also seek to harmoniously blend the cultural traditions of the East and West. This initiative represents a positive exploration of possible development paths for kunqu and serves as a theoretical basis for his philosophical view of art. As a result, Ke Jun acts as a driving force in the modernization of kunqu, confirming his significance in the contemporary context of Chinese theater art.

Keywords: national culture, intercultural mobility, language of art, philosophy of theater, aesthetics, art, avant-garde theater, traditional theater, kunqu opera, Ke Jun