Banner. 2023. Issue 10
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AI, artificial intelligence, is increasingly being integrated into life - and even creativity. Is it for the better or for the worse, especially in dark times? Constantine Frumkin reflects on AI not only in the article 'Artificial Intelligence vs. Human', but also young writers - 'Neural Networks: Competitors or Helpers of the Writer?' (Denis Balin, Arman Komarov, Dmitry Lagutin, Constantine Ryzhov, Anastasia Trifonova, in the 'Conference Hall' section).
A whole array of artistic works, not provoked by artificial intelligence, with their original origin and presumed value, is placed above this discussion.
'Znamya' in October presents poems by poets of almost all generations - Yuri Ryashentsev ('We carried so many bitter words within us...'), Grigory Kruzhkov ('Augurs'), Vera Pavlova ('Sisters Vera and Truth'), Alexander Belyakov ('running lights'). In prose, after a long absence, Andrey Dmitriev appeared (his novel 'This Shore' was published in 'Znamya', most of which takes place near Kiev) with 'a story of my contemporary' 'The Four Hundred and First Bus'. Elena Dolgopyat expands her special world with the story 'Setting'. Natalia Ivanova presents a new composition from the cycle 'Voices from the Shadow' - a docudrama 'Summer in Paris', the action of which is focused around the Congress of Anti-Fascist Writers in June 1935. Young prose writers Taisia Ishniazova (novel 'Three Deaths. One - mine') and Evgeny A. Popov (story 'Photographer') are neighbors with the experienced Vardvan Vardzhaetyan.
In the 'Archives' section, fragments of records by the critic-sixties Isaac Kramov ('From the notebooks of 1974-1979') and the dissident-seventies Yuri Dikov ('From the notebook of 1976-1981'), prepared and published by Lyubov Summ, are published.
Lev Simkin is published this time in the 'Culture' section - his essay is dedicated to little-known pages of Marc Chagall's biography ('Marc Chagall, translator'). The 'Close Reading' section is opened by an article by Vladimir Aristov, examining Boris Pasternak's 'Themes and Variations' (100 years book) in an unexpected aspect - the lyrical theme transitions into political variations. Shevket Keshfidinov in the article 'White Clothes' by Vladimir Dudintsev, or 'Science in Dark Times' reminds of the current meanings of the loudly sounded novel in the Gorbachev era. Ilya Zhurbinsky in the memoir essay 'Such a Quirky Life...' remembers Alexander Mezhirov (on the poet's centenary). Pavel Glushakov draws unexpected parallels between characters - 'Voland, Bender, Tertz, and others'.
Anna Alikevich reconsiders the critics' 'perceptions' of (in)relevant young poetry. In the 'Observer' section, the released books by Nata Suchkova (Ekaterina Ageeva), Elena Rzhevskaya (Yaroslav Sokolov, so entangled 'Archive' with fragments of recordings of her relatives, husband, and son-in-law, prepared by her granddaughter), Marietta Chudakova (Galina Kalinkina), Dmitry Danilov (Yulia Podlubnova), Mikhail Tokarev (Daria Ledneva), Frederic Beigbeder (Natalia Rubanova), as well as collections of materials about Auschwitz (Ya. Lyubarskaya), 'Object of Observations. KGB vs. Sakharov' (Nikolai Podosokorsky), Viktor Pelevin ('In the Labyrinths of Nika', - Alexander Markov) are reviewed. Notes on the exhibition of the artist of the 30s Nikolai Lapshin (Ildar Galeev) and on the show 'Contemporary Art of Africa' (Inna Voloshina) are included. Elena Solovyova reports on the project 'Mechanics of Memory - 2023'. Olga Ball's 'Shorthand' develops the theme of memory in the material world, referring to the books by Irina Glushchenko 'Soul Repair. Memories of Places and Things', Bozhena Shelkross 'Holocaust: Things' and Judith Shahanski 'Catalog of Lost Things'.
A whole array of artistic works, not provoked by artificial intelligence, with their original origin and presumed value, is placed above this discussion.
'Znamya' in October presents poems by poets of almost all generations - Yuri Ryashentsev ('We carried so many bitter words within us...'), Grigory Kruzhkov ('Augurs'), Vera Pavlova ('Sisters Vera and Truth'), Alexander Belyakov ('running lights'). In prose, after a long absence, Andrey Dmitriev appeared (his novel 'This Shore' was published in 'Znamya', most of which takes place near Kiev) with 'a story of my contemporary' 'The Four Hundred and First Bus'. Elena Dolgopyat expands her special world with the story 'Setting'. Natalia Ivanova presents a new composition from the cycle 'Voices from the Shadow' - a docudrama 'Summer in Paris', the action of which is focused around the Congress of Anti-Fascist Writers in June 1935. Young prose writers Taisia Ishniazova (novel 'Three Deaths. One - mine') and Evgeny A. Popov (story 'Photographer') are neighbors with the experienced Vardvan Vardzhaetyan.
In the 'Archives' section, fragments of records by the critic-sixties Isaac Kramov ('From the notebooks of 1974-1979') and the dissident-seventies Yuri Dikov ('From the notebook of 1976-1981'), prepared and published by Lyubov Summ, are published.
Lev Simkin is published this time in the 'Culture' section - his essay is dedicated to little-known pages of Marc Chagall's biography ('Marc Chagall, translator'). The 'Close Reading' section is opened by an article by Vladimir Aristov, examining Boris Pasternak's 'Themes and Variations' (100 years book) in an unexpected aspect - the lyrical theme transitions into political variations. Shevket Keshfidinov in the article 'White Clothes' by Vladimir Dudintsev, or 'Science in Dark Times' reminds of the current meanings of the loudly sounded novel in the Gorbachev era. Ilya Zhurbinsky in the memoir essay 'Such a Quirky Life...' remembers Alexander Mezhirov (on the poet's centenary). Pavel Glushakov draws unexpected parallels between characters - 'Voland, Bender, Tertz, and others'.
Anna Alikevich reconsiders the critics' 'perceptions' of (in)relevant young poetry. In the 'Observer' section, the released books by Nata Suchkova (Ekaterina Ageeva), Elena Rzhevskaya (Yaroslav Sokolov, so entangled 'Archive' with fragments of recordings of her relatives, husband, and son-in-law, prepared by her granddaughter), Marietta Chudakova (Galina Kalinkina), Dmitry Danilov (Yulia Podlubnova), Mikhail Tokarev (Daria Ledneva), Frederic Beigbeder (Natalia Rubanova), as well as collections of materials about Auschwitz (Ya. Lyubarskaya), 'Object of Observations. KGB vs. Sakharov' (Nikolai Podosokorsky), Viktor Pelevin ('In the Labyrinths of Nika', - Alexander Markov) are reviewed. Notes on the exhibition of the artist of the 30s Nikolai Lapshin (Ildar Galeev) and on the show 'Contemporary Art of Africa' (Inna Voloshina) are included. Elena Solovyova reports on the project 'Mechanics of Memory - 2023'. Olga Ball's 'Shorthand' develops the theme of memory in the material world, referring to the books by Irina Glushchenko 'Soul Repair. Memories of Places and Things', Bozhena Shelkross 'Holocaust: Things' and Judith Shahanski 'Catalog of Lost Things'.
Cover:
Cover:softcover
Category:
- Category:Computer & Technology
- Category:Science & Math
Dimensions:
Dimensions:26x17x1 cm
ISBN:
ISBN:985429
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