Artificial intelligence has revolutionized the world of creativity, as it has in many other fields. This has also raised several legal issues related to intellectual property and copyright, due to the ability of AI systems to generate original content, sometimes without any human intervention. Can creations and innovations generated by generative artificial intelligence be classified as "intellectual works" subject to legal protection? Who is entitled to the title of "author" for content created using artificial intelligence, or even for content created through a combination of human work and artificial intelligence techniques? These are the most important questions raised by the theme of artificial intelligence in the field of intellectual property, which we will attempt to discuss in this research paper, drawing on the perspectives of comparative jurisprudence in the absence of legal texts detailing these issues.

Over the past decade, streaming platforms have become the primary medium for both serialized non-audiovisual fiction and non-fiction audiovisual content, including hybrid formats. This has transformed the role of audiences and given rise to new narrative expansion formats that continue to reshape the media ecosystem. Furthermore, audiovisual productions on these platforms seek global audiences, which means producers must develop stories that, while retaining their original and local character, resonate with broader tastes and preferences. This is where the premise “think local, produce global” comes into play, a premise to which the industry must respond. This implies changes in business models, cultural policies, funding, and the professionalization of the creative world, as well as, of course, audiences. Audiovisual content platforms are here to stay, and it is already evident that the speed, flexibility, and capacity of production companies to collaborate in adapting to these transformations are key aspects for the survival of Latin American industries.

The article examines the acmeological idea of ​​the spiritual and intellectual formation of a person through the prism of the philosophical and pedagogical heritage of Hryhoriy Skovoroda and its significance for modern education. Against the background of the challenges of the 21st century — spiritual emptiness, loss of meaning, instability of life guidelines — the emphasis is placed on the need to form a harmonious, internally mature and happy personality, capable of self-development and creative self-realization. Based on the noosphere-ontological approach to the meaning of life, the work proposes to consider the ideas of self-knowledge, "related labor" and spiritual balance, set forth by G. Skovoroda in the treatise "Narcissus", as the foundation of acmeological pedagogy. It is shown that the concept of "acme" — the peak of human development — in Skovoroda is associated not with material achievements, but with internal perfection, moral purity and unity of a person with his own nature. The analysis of the image of Narcissus allows us to interpret self-knowledge as practical spiritual work aimed at discovering one’s true calling and achieving a state of happiness through the realization of one’s own talents. The article reveals the pedagogical value of the concept of “unequal equality”, in which each person, having unique abilities, can achieve the fullness of life provided that he finds and develops his inner strength. The relevance of Skovoroda’s acmeological ideas for 21st-century education, which should move from the model of knowledge accumulation to the model of holistic personal development, is substantiated. The role of the teacher as a mentor and partner in the process of students’ self-knowledge is presented, as well as the possibilities of integrating the practices of spiritual and value education, emotional intelligence, dialogic learning and mentoring into the modern educational space. It is emphasized that spiritual values – love, kindness, gratitude, responsibility — serve as the basis for the intellectual and moral growth of the individual, and therefore are an integral part of acmeological education. It is concluded that spiritual and intellectual education based on the acmeological ideas of G. Skovoroda is an effective way to form a happy person capable of self-realization, moral choice and creation of a harmonious world. His philosophy retains a powerful educational potential and serves as a spiritual guide for the education of the future.

This article discusses the use of role-play in online therapy groups. It integrates transactional analysis (TA) language and creative techniques to foster group cohesion, intimacy, and growth. Navigating symbolic landscapes, the author shows how a cocreated transitional space enables members to confront and challenge their script beliefs, internally held biases, and limiting behaviors in a safe environment. The work draws from TAgroup development theories, demonstrating how role-play and creative techniques facilitate autonomy and deeper relationships while addressing the complexities and challenges of delivering group therapy online. Using collaborative storytelling, metaphor creation, and creative world building, members are able to begin relating with themselves and each other more authentically.

Georgia’s relationship with the outside world has always been of particular importance for Georgian writers. This reality was shaped not only by the country’s geographical position but also by the fact that, throughout much of its history, Georgia found itself surrounded by dominant imperial powers and became the target of their persistent aggression. Under these circumstances, Georgian rulers were repeatedly compelled to seek external support to preserve their statehood. Over the centuries, however, the accompanying hope of preserving national identity and political independence was interpreted differently by the leaders of various Georgian kingdoms and principalities on the one hand, and by Georgian patriots on the other. Specifically, most of these figures, including writers, directed their hopes primarily toward Europe. This orientation of Georgian writers was essentially determined by the fact that the historical development of Georgian literature was virtually inseparable from the significant events unfolding among European writers. Thus, the European creative world had become a powerful source of inner impulse for the leading Georgian writers, enriching Georgian literature with numerous innovations. In particular, the significant events in Georgia during the 1910s and 1920s further strengthened the pro-European outlook of most Georgian writers.

The expression of emotion is a characteristic but difficult feature of digital art that is most frequently expressed in abstract visual features instead of direct semantics. This paper explores how deep learning methods can be used to learn and analyze emotional expression in digital artwork. The proposed hybrid model that integrates Convolutional Neural Networks and Vision Transformers will be able to capture local visual features, including color and texture as well as global compositional structure. A selected collection of various digital artworks is modeled and cited by a hybrid emotion system based on discrete categories and dimensional valence-arousal models. The experimental findings prove that the proposed hybrid method is more successful than CNN and transformer baselines on both emotion classification and regression problems with a higher F1-score, reduced error in prediction, and increased correlation with human emotional ratings. Embedding-level and qualitative analyses also indicate that the learned representations are able to maintain emotional continuity as well as ambiguity in artistic expression. The results affirm that emotion in digital art is multidimensional and optimal with regard to integrated local-global feature learning. The presented work contributes to the development of affective computing in the world of creativity and offers a premise to the study of emotional art, curating it, and creative collaboration between humans and AI.

The paper is a pedagogical investigation of the Neural Style Transfer (NST) as a means of promoting digital creativity in art education. With the growing influence of artificial intelligence in creative practice, it is up to educators to identify ways of using emerging technologies to facilitate creative expression and not to automate it. The paper presents a case study on how NST may be applied in a formal education setting to enhance students’ knowledge of visual styles, increase their range of creative decisions, and promote experiments in digital media. The study was done using a sample group of undergraduate art students that had gone through a sequence of workshops that were aimed at creating stylized images using the NST algorithms. The qualitative information such as student feedback, notes, and art analysis were gathered to analyze the transformation of creative processes and attitudes toward AI-assisted artmaking. Results have shown that NST has offered a point of access to the world of computational creativity, allowing students to rebuild their own work based on the prism of various artistic styles. The students were found to have been more engaged and more willing to take aesthetic risks, and to have been digital literate. Nonetheless, other issues (i.e. excessive dependence on automated results and lack of knowledge about algorithmic decision-making) are also noted in the study. Comprehensively, the study implies that a well-considered application of NST can become an effective pedagogical means that can enhance the creative exploration and help to cultivate hybrid digital-artistic qualities during art education.

The Signs–Symbols and Their Message in the Creative World of Ivan Vukadinov

This article examines the phenomenon of creativity. The authors attempt to elucidate the signifi cance of creativity for culture. It is defi ned as the process of creating something fundamentally new. The possibility of both productive and reproductive creativity is substantiated. The latter, while not creating something fundamentally new for culture as a whole, does create something fundamentally new for the individual. Based on this, the authors conclude that all people possess the fundamental capacity for creativity. This raises the logical question of why, despite possessing the capacity for creativity, most people abandon it. The authors see the answer to this question in N. A. Berdyaev’s interpretation of creativity, which, in examining creativity, concludes that it is tragic. The essence of the creative process, according to the authors, lies in a person’s ability to see the unusual in the ordinary and to realize this vision in practice. For N. A. Berdyaev, the defi ning aspect of this process is not the cultural aspect of creativity, which consists of creating new cultural elements, but the existential aspect - the person’s experience, through the creative act, of moving from the immanent world to the transcendental. Emerging from the immanent world into the transcendental, man is freed from the shackles of reality; in the creative act, he fi nds freedom. The creative act, according to N. A. Berdyaev, is man’s free creation of a new world, realized in his imagination. However, in creating a new world, man is forced to realize his creative vision through material means. This is precisely why the result of creativity never fully corresponds to the creative intent. This is where N. A. Berdyaev sees the tragedy of creativity. The authors believe that the tragedy of creativity is one of the two main reasons why people abandon creative activity. Repeatedly disappointed in the fruits of creativity, a person comes to the conviction of the futility of creativity itself and abandons it, preferring peace and comfort to creativity. The second reason for abandoning creativity, according to the authors, is connected to A. Toynbee’s concept of the contradiction between culture and civilization. Being itself a product of cultural creativity, civilization becomes entrenched in rigid dogmas that hinder further creativity. During socialization, people are indoctrinated into what is and is not possible, resulting in a narrow-mindedness that limits and inhibits their creative impulses. The authors believe that the need for creativity, as a need to escape the immanent world of everyday life, is inherent in humans. In their view, besides creativity as the creation of new cultural elements, there are two ways to satisfy this need. The fi rst is contemplation of beauty, a more tranquil and less creative approach, as it is devoid of the tragic contradiction between concept and its realization. The second, more tragic and creative, is love, which requires self-sacrifi ce and transcends the boundaries of immanent existence. Creativity is essential for both culture and humanity. It allows culture to continue its development, continually creating new elements. Despite all its tragedy, it allows man to unleash his creative potential, to break free from the immanent world of necessity into the transcendent world of freedom. It is in the creative act that man becomes psychologically equal to God, as one creator is equal to another.

The purpose of the article is to prove that T. Tolstaya’s prose of the 2010s, namely the books Light Worlds and The Invisible Maiden, represents a special stage in the writer’s development. In addition to the fact that purely autobiographical texts appear in Tolstaya’s work of this period, Light Worlds and The Invisible Maiden mark a turn in her thinking associated with the new substantive lines. The task of our research is to reveal them, relying on such methods as hermeneutical, biographical, historical and cultural. As a result of the analysis, we come to the following conclusions. Of paramount importance in Tolstaya’s late work is the sphere of the past, which acquires a different status than in prose of the 1980-90s and refracts the categories of eternal, ontologically significant. At the same time, eternity and immortality are associated precisely with the everyday plan of the past. A significant substantive facet of Light Worlds and The Invisible Maiden is the idea that the world of the past, the world of creativity and the other world are united in their foundations. In her late prose, Tolstaya is exceptionally attentive to the natural continuum. So, Light Worlds and The Invisible Maiden expand Tolstaya’s range of ontological aspects.

In the face of global demographic shifts, it is crucial to adopt sustainable solutions that support active and healthy aging. Engagement in creative activities, such as crafts, may positively affect the social determinants of health by promoting mental, physical, and social well-being. While the use of crafts as therapeutic interventions is well documented, research on crafts as a professional activity remains limited, especially among older adults and across different sectors. This multi-methods study combined quantitative data analysis with qualitative exploration of individual narratives to examine how older professional artisans in a UNESCO Creative City of Crafts and Folk Art in Portugal perceive the impact of craftwork on their health and well-being. Fifty-five artisans aged 55 and older took part in walking interviews in their ateliers and completed health and quality of life (QoL) scales (PHQ-8 and WHOQOL-BREF). Thematic content analysis was performed by two independent coders. Participants were 60% men (n = 33) and had a mean age of 67.5 years (SD = 8.02). Each participant was active in one of eight craft sectors represented in the study. The artisans had overall good QoL scores, with the psychological domain showing the highest average (WHOQOL-BREF M = 84.92, SD = 10.98). All but one participant (98.1%) scored below 10 on the PHQ-8, indicating the absence of depressive symptoms. Thematic analysis revealed artisans’ perceptions of both positive and negative impacts of craftwork on their well-being, with 17 areas of impact emerging from their discourses. Positive attributions predominated, with craftwork being associated with psychological well-being, personal and professional fulfilment, creative identity expression and a sense of generativity. In contrast, financial instability and labor precarity emerged as the main strains of craftwork. The study suggests that older artisans understand their professional involvement in crafts and folk art as contributing to their well-being, even in the face of economic challenges associated with this work. These results support policy recommendations, aimed at improving the economic and working conditions of artisans, as well as knowledge transmission programs as strategies to promote active and healthy aging, foster intergenerational learning, and preserve intangible cultural heritage.

in particular, the consequences of customer relationship orientation and the use of CRM technologies as a support for analysis, data integration and access to business performance. Customer Relationship Management (CRM) is becoming increasingly important for organizations as a prerequisite for the survival of the company. According to the study, CRM should be considered strategically for organizations. Therefore, this study focuses on the effects of digital marketing on business performance, in particular, the effects of customer relationship orientation and the use of CRM technologies as a means of supporting analysis, data integration and access to business performance. The study is based on quantitative methods to test hypotheses. Data was collected from various organizations. The results show the relationship between CRM and customer satisfaction, market performance and profitability. CRM technologies significantly improve business performance. This study contributes to existing knowledge by shedding light on the complex relationships between CRM, customer relationship orientation, market performance, market profitability and customer satisfaction. Based on the research results, we offer practical recommendations to managers and decision-makers. The relevance of the topic is determined by the fact that digital marketing is one of the fastest growing areas in the world. It is relevant in developed countries, both small and large companies find it very convenient to use digital marketing, as it significantly reduces costs and increases the level of communication with the consumer. As a result, we get a new economic model, which is the basis for the creation of a modern digital world.

This article analyzes the issue of the relationship between man and nature, which is one of the main ideological directions of the work of Mengziyo Safarov one of the writers who actively worked in Uzbek literature in the second half of the 20th century and beyond. The author shows how the main factors in Safarov's life, profession, creative world, especially the nature, historical values ​​and cultural heritage of the Surkhandarya region, had a spiritual impact on the writer.

This study was conducted for the fundamental reason of understanding and addressing the growing problem of plagiarism in works of art in Indonesia. Plagiarism, as a form of copyright infringement, harms the creators of artistic works and creates injustice in the creative world. The primary objective of this research is to explore how Indonesian law addresses plagiarism in artistic works and to assess the effectiveness of the implementation of the Copyright Law in addressing plagiarism. This study employs a normative legal approach with a normative legal research design. This study applies several legal approaches, namely: the Statute Approach, which analyzes regulations governing copyright, including Law No. 28 of 2014 on Copyright; the Conceptual Approach, which delves into legal concepts related to copyright and plagiarism; and the Case Approach, which examines the application of law through case studies and relevant court decisions. Based on the results of the research conducted, it was found that the legal responsibility for perpetrators of artistic plagiarism in Indonesia is regulated in the Copyright Law (UUHC) No. 28 of 2014, which includes criminal and civil sanctions. Copyright infringement may be subject to compensation for economic losses and protection of the moral rights of the creator. The enforcement of copyright law against plagiarism of artistic works in Indonesia, despite being regulated by the 2014 UUHC, still faces various obstacles. Among these are low legal literacy among the public, particularly artists, and a lack of understanding of copyright. This has led to many artistic works being copied or used without permission. Additionally, proving copyright infringement involving substantial similarity between works is often subjective. Lengthy, expensive legal processes and insufficient oversight further exacerbate this situation.

The concept of interlude, as a category that includes systems and cultural codes that have emerged as a result of the interaction of different cultures, has become the subject of literary study. Intermediality in Kazakh prose is one of the most important areas of research in modern literary criticism. The main importance of intermediality is the analysis and interpretation of the interaction of art forms (music, fine arts, cinema, theater, sculpture, etc.) with literary works. In Kazakh prose, literature has been linked to all forms of art since the very beginning of prose, since Kazakh literature is inherently open to various intercultural contacts. The article discusses issues related to the genesis of the concept of interlude and its appearance in Kazakh literature. Based on the material of the novel “Bas” by writer Rahimzhan Otarbayev, the use of the term interlude is theoretically analyzed. The analysis of a work in the style of fiction by the method of interlude is the novelty of the article. The article analyzes the expression and function of sculpture in the text of Rahimzhan Otarbayev. The importance of intermedial communication in the process of analyzing a work of art is emphasized. The novel “Bas” reveals the influence of art forms (sculpture, poetry, drama) on the disclosure of a certain image, semantic connotation, and the psychological state of the characters. The national code is analyzed, and cognition is among the concepts that make up the elements of traditional culture. The article discusses forms of introducing elements of national culture into the world of literary creativity of the writer.

Traditional methods of capturing design motifs, recurring elements found in various creative fields, often involve manual tracing or photography, which can be time-consuming and limit editing capabilities. This paper explores the potential of Computer-Aided Design (CAD) software in digitizing motifs. The benefits of using CAD software compared to traditional methods, such as increased efficiency, enhanced accuracy, scalability, and editing flexibility. We then delve into various types of CAD software suitable for motif digitization, highlighting their specific features and functionalities. Additionally, we explore different techniques for digitizing motifs within CAD software, including tracing and vectorization approaches. Furthermore, the paper showcases the diverse applications of digitized motifs across different industries, such as textile design, graphic design, and product design. By employing digitized motifs, designers and artists gain a powerful tool to create innovative and visually appealing designs, enriching the world of creativity with diverse and captivating expressions.

The continuity between the two personalities, Abai who shone in the beacon of Kazakh spirituality and B. Momyshuly who radiated from that light was investigated. The people who took their place in the sphere of critical thinking of the Kazakh world were recognized as linguistic figures of their nation in terms of understanding the world. Abai gave a tasteful critical assessment of the Kazakh worldview until the XIX century. B. Momyshuly considered the critical opinions that began with Abai from a national perspective. He critically looked at the Kazakh character and nature described by Abai. His thoughts are in line with Abai’s thoughts on correcting character, bowing to justice, and loving humanity. Batyr, the hero who witnessed and experienced the Great War in the XX century, was characterized as a linguistic figure who integrated the metaphorical, expressive, and figurative meaning of the words developed by Abai in forming the linguistic image of the world. Abay’s teachings, the origin of morality and goodness, the assessment of human deeds and actions, and his views on the place of an individual, attracted the citizens of Alash, who began to study various fields of knowledge and science. B. Momyshuly also wrote a letter to the country about an individual and his life in war, the future of the Kazakh nation, and had the idea of equipping a private army for the independence of the state. The emergence of this idea was opposed by the citizens of his country in power, and Batyr’s opposition in peacetime after the war was realized through his creativity. In order to raise the idea of the citizens of Alash that the foundations of the state need to have a private army, he spoke about the education of youth, despite the harsh realities of the time. He called the youth to be brave and educated in order to protect their country. In war, he proved that he, as a commander, was responsible for the life of every soldier in terms of honor, duty and obligation. From this, the concept of «heroism», which our people have been fighting for centuries, was revived. He knew that a person he knew Abai was an invaluable asset. He studied the heroic qualities of an individual in war. From the Kazakh words, he made a creative world that leads to thoughtful, insightful wisdom.

This article examines the dual representation of the woman-nature connection represented by the author through elements of fantasy and the secondary world in The Girl Who Drank the Moon. This research uses a descriptive qualitative method and the lens of ecofeminism and fantasy theory to analyze data relevant to the woman-nature connection in the novel. The results show that the author uses three female characters to represent the connection between women and nature, namely Xan (witch), Luna (moon baby), and Madwoman (Adora). The connection between women and nature is depicted through two different sides. On the one hand, women and nature are depicted as loving, caring, and connected entities; but on the other hand, women and nature are depicted as dangerous entities. The use of fantasy elements such as supernatural creatures, magic, and the creation of a secondary world in The Girl Who Drank the Moon plays an important role in providing a new perspective as well as an alternative escape for readers to transcend the boundaries of various injustices against women and nature that have been normalized in the real world.

Tradition' and 'Modernity' are the two terms which have not only fascinated but also baffled the critical as well as creative world in literature, both Indian and American. Not everything related to 'modernity' can get universal approval while 'tradition' which is rooted in the past can get universal acclaim. The first-generation Indian novelists writing in English like Mulk Raj Anand, RK Narayan and Raja Rao have highlighted the dichotomy between tradition and modernity. The same is true of the next generation women writers like Kamala Markandaya, Nayantara Sahgal, Mrs. Ruth Prawer Jhabvala and Anita Desai. Sudha Murty, the famed author of "Dollar Bahu" exploits the potential of the conflict and contrast between tradition and modernity in a light-hearted though enlightening manner in this novel. She concentrates on the contrast between 5000-year-old Indian society rooted in tradition and the young, vibrant American society which symbolizes modernity. The typical Indian fascination for the 'Dollar World' is contrasted with the average Indian's resistance to American liberality, especially in the context of matrimonial relationships. Most of the male and female protagonists, who are tempted by America, the land of opportunities, accept and acknowledge America's liberality after they have gone through emotional crisis. A close critical perusal of the story-line in Sudha Murty's "Dollar Bahu" casts significant light on the typical Indian attitude to the education, settlement in career and in wedlock of their wards.

Protecting young players in the Metaverse is one of the challenges, if not the most important, for the development of a sane and safe internet with regard to the emergence of new information and communication technologies. VR/AR headsets, sensors for motion recognition and geolocation, crypto-currencies and online gaming are already evidence of a highly demanding environment for personal data and an overexposed new generation. By adopting a multi-disciplinary approach combining technical, legal and ethical considerations, this article aims to provide, first, a comprehensive overview of the relationship between video games and the Metaverse. Both share a similar audience, young, in search of stimulation and entertainment, whose issues of cybersecurity, privacy and transparency are more topical than ever. It warns of an overly speculative environment, plagued by issues of microtransactions and crypto/gaming currencies, particularly for younger players. Second, it encouraged also at rethinking of regulations for the various third parties involved in the creation of this virtual world, with regard to EU anchorage for transparency and children-protected status.