75447 2712-9934 18+ 7 2 23 2026 1-222

EDI RUS 1-6 Technical University of Darmstadt Frehe Hardy

Darmstadt, Germany

0000-0001-7520-2430 Universidad de Chile Ríos María José

Santiago, Chile

Russian State University of Justice named after V.M. Lebedev Shcherbak Anna

Moscow, Russia

Voice(s) – An Introduction In this collection of papers on voice(s), the relationship between voice and technology comes to the fore especially in regard to art and aesthetic practice. Special attention is paid to "mute" objects which acquire a voice through technical intermediaries (microphone, synthesizer, tactile sensors, sound recording archives). These mute or inert objects include puppets, buildings (lost places), textiles, silent movies, or smart homes. In this context, the voice appears not as a static attribute of the subject, but as a procedural formation or emergent effect of the interaction of material forces, discursive practices, and technological environments. This special issue contributes to the media archeology of sound, critical media theory, and posthumanist studies of subjectivity, demonstrating that voice acts as a nodal element in the reassembly of social and aesthetic experience not only in the digital age. The presented cases cover a broad spectrum from the mechanicism of the Russian avant-garde to modern neural network synthesizers, from propaganda radio to decolonial textile sound systems, from microphones that afford authenticity to the technically advanved gusli that upholds musical heritage. All this allows us to formulate new research questions about the nature of acoustic materiality and the politics of audibility in techno-cultural landscapes. 10.48417/technolang.2026.02.01 130.2: 612.78 Voice Sonification Silent Movies Microphone Technology Avantgarde aesthetics Sound materiality https://soctech.spbstu.ru/article/2026.23.1/ 1-6.pdf

RAR RUS 7-22 0000-0001-6874-1073 Russian State University for the Humanities Markov Alexander

Moscow, Russia

0009-0004-1701-3147 Ural Federal University named after the first President of Russia B. N. Yeltsin Shtayn Oksana

Yekaterinburg, Russia

The Puppet's Voice: From Mechanical Mimesis to Algorithmic Interface This article examines the technological ontology of the voice through the lens of its most uncanny vessel: the speaking doll or puppet. From ancient automata to Edison's phonographic dolls and contemporary virtual assistants, the fusion of a simulated body with a captured or synthesized voice creates a hybrid entity that fundamentally challenges distinctions between living and non-living, authentic and artificial. We argue that the puppet’s voice represents not merely a technical imitation but a profound metaphysical experiment in vocal dispossession. Historically, this voice operated as a calculated, statistically tuned call (e.g., royal acclamations, the cry of “mama"), exploiting auditory expectations. Philosophically, following Derrida, it exposes the phantasm of self-present voice and the technical mastery inherent in speech. In aesthetic practice, from Shostakovich’s piano piece to cinematic dubbing, the puppet’s voice serves as a tool for therapy, deception, or character creation. Finally, in folklore and contemporary digital culture, this voice functions as an interface – a medium for communion with the otherworldly or an algorithmic agent that exists only performatively. The article concludes that the evolution of the puppet's voice traces the trajectory of voice itself becoming a pure, disembodied technology of call and response, where its ontology is no longer tied to a source but to an effect of interaction. 10.48417/technolang.2026.02.02 688.721: 534 Voice Puppet Technology Ontology Interface Phonograph Algorithm Cinema https://soctech.spbstu.ru/article/2026.23.2/ 7-22.pdf

RAR RUS 23-37 Akademie für Tonkunst Gieshoff Arne

Darmstadt, Germany

Concrete Structure, Fragile Voice: The Bunker as an Interface Framed as an essay on site, listening, and compositional practice, this text reflects on how a musical composition can emerge from sustained engagement with a historically charged architectural site. Against the background of compositional traditions centred on originality, authorship, and the search for an individual artistic voice, the essay asks what changes when compositional attention turns away from inward expression and toward the acoustic, material, and historical conditions of a place. The aim is to examine site-sensitive composition as a practice of listening, activation, and response. Rather than treating the site as a neutral container for musical performance, the essay understands it as an interface between architecture, memory, sound, and embodied experience. It considers how places marked by historical violence, later informal use, and partial archival absence can be approached without reducing them to stable narratives or illustrative representation. Methodologically, the research combines archival inquiry, conversations, repeated site visits, situated listening, acoustic exploration, and collaborative work with performers. These practices generate a compositional process in which sound materials, spatial actions, recorded traces, and instrumental gestures are developed in relation to the specific conditions of the site. The essay shows that such a process does not simply give voice to a place. Instead, it constructs a fragile field of relations in which absent, mediated, and partially perceptible presences can resonate. It concludes that site-sensitive composition can become a form of attentive activation: a temporary making-audible of the tensions between place, memory, listening, and artistic practice. 10.48417/technolang.2026.02.03 130.2: 338.48-44 Site-specific composition Winkel-type bunker Darmstädter Ferienkurse Archival research Situated listening Electroacoustic Performance Memory culture https://soctech.spbstu.ru/article/2026.23.3/ 23-37.pdf

RAR RUS 38-56 0009-0008-6730-9172 Russian Presidential Academy of National Economy and Public Administration Kukushkin Dmitry

Moscow, Russia

0009-0006-9834-630X Bauman Moscow State Technical University Kurakov Sergei

Moscow, Russia

The Gusli as Instrument for an Artistic Synthesis of Word, Voice, Media, and Technology The article examines the problem of interpreting the gusli in contemporary musicology as a phenomenon that extends beyond the boundaries of traditional organology. The instrument is analyzed not only as an acoustic system but also as a bearer of cultural memory, syncretically combining word, sound, vocals, and performance action, thereby forming a unique cultural code of national consciousness. Special attention is paid to modern stage practice, exemplified by the ethno-performance “The Tale of Igor's Campaign” (Moscow, 2026), which demonstrates the actualization of an ancient sound archetype in the context of 21st-century theatre, where the entire performance is sung with authentic voices in the Old Russian language. The article shows that the integration of the traditional acoustics of the gusli with electronic means, lighting technologies, and elements of artificial intelligence creates a new model of artistic synthesis. The work on the contemporary staging of “The Tale of Igor's Campaign” required the collaboration of specialists with diverse competencies in the humanities and technical fields of scientific knowledge. The article analyzes the constructive modifications of the instrument and the developed technical solutions aimed at expanding its dynamic and sound frequency range, ensuring the historical timbre meets modern stage requirements. The authors present to the reader a two-year period of work on the adaptation of this literary monument of the Old Russian epic, not only from the perspective of mass art-media technologies but also from the viewpoint of restoring the image of the Russian folk musical instrument and its repertoire within musical culture. 10.48417/technolang.2026.02.04 7.091.5 The Tale of Igor's Campaign Gusli Folk musical instrument Ethno-performance Artistic synthesis Acoustic range Preservation of Cultural Heritage https://soctech.spbstu.ru/article/2026.23.4/ 38-56.pdf

RAR RUS 57-65 0000-0001-7520-2430 Universidad de Chile Ríos María José

Santiago, Chile

The Machinery of Weaving and the Woven Being: Decolonial Voices through Textile Computation This article presents TmaqT, a research-creation project that explores how the notion of voice-sound can be reconfigured through physical interaction with a handcrafted textile surface, where tactile contact continuously modulates sonic processes. Instead of treating the voice as a pre-existing expressive capacity of the speaking subject, this idea redefines it as a relational and emergent acoustic field produced through the interaction between the body, the textile material, and algorithmic artificial intelligence systems. The system consists of a textile interface with integrated sensors that register variations in touch and translate them into real-time sonic transformations. These transformations are not conceived as linear input/output operations, but rather as dynamic covariations within a distributed field of material, temporal, and computational relationships. In this configuration, sound emerges as an unstable modulation process, rather than a discrete signal or a fixed sonic representation, avoiding dependence on presets or predefined audio files and instead activating latent computational spaces and AI-based processes. Framed within media archaeology and decolonial theory, TmaqT re-examines Mapuche textile and sonic practices, including weaving, but specially the kultrun, as alternative genealogies of memory, tactile interaction, and sound. This archaeological perspective brings historical tactile media into dialogue with contemporary algorithmic systems, proposing relational modes of sonic interaction based on touch rather than control. In this way, the project conceives of textile practices not as peripheral craft traditions, but as computational and epistemic systems that challenge linear narratives of technological progress. In general, a conceptual framework is developed in which the voice is understood not as an individual property, but as a co-emergent phenomenon that arises from the continuous interaction between textile surfaces, body gestures, algorithmic processes, and is approached as a distributed acoustic field generated through constant tactile variations, where material, temporal and bodily relationships become audible without stabilizing in a single origin, subject position or fixed representational structure. 10.48417/technolang.2026.02.05 677.024: 534 Textiles Voice-Sonification Media Archaeology Relational Systems https://soctech.spbstu.ru/article/2026.23.5/ 57-65.pdf

RAR RUS 66-78 0000-0001-6874-1073 Russian State University for the Humanities Markov Alexander

Moscow, Russia

0000-0002-9736-0912 Russian Academy of National Economy and Public Administration Sosnovskaya Anna

St. Petersburg, Russia,

Zero and the Machine: The Metaphysics of the Mechanical Voice in the Russian Avant-Garde This article offers a novel reading of the legacies of Kazimir Malevich and Daniil Kharms through the lens of Jacques Derrida's philosophy of the voice. The focus shifts from a traditional analysis of plastic and poetic forms to an investigation of their fundamental project to deconstruct and reinvent the very act of utterance. We argue that a central problem for both artists was that of the mechanical voice – a voice alienated from the living presence of the speaker, a voice as technique. In his work Ulysses Gramophone, Derrida demonstrates how recording devices radically separate the voice from its source, turning speech into a quotation, an archival trace. Malevich and Kharms, however, do not lament this loss of authenticity but see in it a liberating and creative potential. The analysis begins with Malevich, whose Black Square is interpreted not only as a “zero of forms” but also as a voice-zero – the final result of an operation of economy that reduces utterance to its suprematist minimum. The futurist opera Victory Over the Sun, in whose creation Malevich participated as an artist and co-author of the libretto, is understood as the triumph of this new, machine-like, and dehumanized sonic landscape over the logocentric voice of classical culture. Daniil Kharms develops and complicates this program in the field of literature. His poetics of dysgraphia, malfunction, and absurdity constitutes a systematic sabotage of routineized speech machines – the printing press, the gramophone, and logical syntax. In his texts, the voice splinters, becoming a set of mechanical signals and autonomous phonemes, which finds its culminating expression in the enigmatic ritual poem “On the Death of Kazimir Malevich.” The theoretical depth of the study is ensured by drawing on key concepts from media archaeology and the philosophy of technology: the media-archaeological approach of Friedrich Kittler and Valery Savchuk allows us to consider the voice as a product of material carriers; Steven Connor's ideas on ventriloquism shed light on the phenomenon of the alienated voice; Boris Groys's analysis helps place the avant-garde's quest within the ideological context of the era. Ultimately, the project of Malevich and Kharms appears not as a technocratic utopia but as a radical metaphysical and medial program for the creation of a new auditory episteme – a program whose prophetic power is revealed in the age of artificial intelligence and synthetic speech. 10.48417/technolang.2026.02.06 7.038 + 82.0 Philosophy of the voice Media archaeology Russian avant-garde Suprematism OBERIU Technique Gramophone Kazimir Malevich Daniil Kharms Jacques Derrida https://soctech.spbstu.ru/article/2026.23.6/ 66-78.pdf

RAR RUS 79-90 0009-0005-6179-7660 Cultural and educational centre “INTEHTUR" Erofeeva Olga

Vyborg, Russia

To Hear the Form, to See the Sound: “The Voice of Matter” in Artistic Language This article analyzes artistic practices of the 20th and 21st centuries through the prism of a processual understanding of artistic form. Using the works of Wassily Kandinsky, Alvar Aalto, and Sergei Filatov as examples, it explores the concept of “the voice of matter” as an analytical category describing situations in which the artistic element, material, space, or acoustic environment begin to participate in the emergence of form and the organization of perception. It is shown that in these practices, artistic form is understood not as the realization of a predetermined image, but as the result of the interrelationship between the artistic element, material, environment, technology, and perception. In Kandinsky's painting, the autonomization of the artistic element and the convergence of visual composition with musical organization are analyzed. In Aalto's architecture, space is considered as an acoustically and bodily experienced environment, where material and perception participate in the formation of architectural experience. Sergei Filatov's sound art explores the processual nature of sound form, emerging through resonance, vibration, and the technological mediation of acoustic processes. Methodologically, the article combines a phenomenological approach to perception with an interdisciplinary analysis of visual, architectural, and sound practices. It concludes that the concept of "the voice of matter" allows us to describe the shift in artistic thinking in the 20th and 21st centuries, in which the artistic element, material, technology, space, and perception all begin to participate in the emergence of artistic form. 10.48417/technolang.2026.02.07 7 + 117 The voice of matter Production of form Artistic language Processuality in art Perception Technology Sound art Abstraction Architecture Interdisciplinarity https://soctech.spbstu.ru/article/2026.23.7/ 79-90.pdf

RAR RUS 91-103 0000-0002-8794-5300 Peter the Great St.Petersburg Polytechnic University Aladyshkin Ivan

St.Petersburg, Russia

0000-0003-2059-6430 Peter the Great St.Petersburg Polytechnic University Ulyanova Svetlana 0000-0002-5016-1537 Peter the Great St. Petersburg Polytechnic University (SPbPU), St. Petersburg, Russia Anosova Sound in New Educational Formats: Radio and the Image of the Soviet University of the Future in the 1920s The early 20th century marked a time of reassessment of the role of sound in society, largely facilitated by the development and spread of radio broadcasting. As a main symbol of technological progress, radio became a vital element in the young Soviet state's vision of a socialist future and all its components. Symbolizing the cutting-edge technologies of its time, radio was closely linked to the radical transformation of the higher education system in the USSR. However, the role of radio in the reorganization of Soviet higher education remains a little-studied aspect in terms of both radio broadcasting and higher education in the country of „victorious socialism.“ This article examines the establishment of the first Soviet radio university and the role of radio and distance learning in images of the socialist higher education system of the future. The implementation of the idea of ​​radio universities is examined within the broad context of key trends in the development of radio broadcasting in the USSR, including changes in the social, legal, technical, organizational, and software frameworks of the mass broadcasting system. Drawing on extensive material that for scholarly purposes is here presented for the first time, this article analyzes the general organizational principles and structure of the first radio university, as well as the forms and specifics of the educational process.  It traces the connection between the implementation of the idea of the radio university not only with the radical reforms of higher education at the turn of the 1920s and 1930s, but also with the general economic and political factors of the country's development. The authors conclude that the First Workers' and Peasants' Radio University, opened in Leningrad in October 1928, was a result of the implementation of key guidelines for the radical transformation of the higher education system in the USSR. These included progressive ideologization as an instrument of state policy, new forms of education through the proletarianization of universities , and the introduction of industrial pragmatism along with ways to bring higher education closer to the needs of industries. These also included technological guidelines for educational policy. 10.48417/technolang.2026.02.08 378(091)+94(47) History of radio broadcasting History of higher education Radio universities Soviet social project Social studies of sound https://soctech.spbstu.ru/article/2026.23.8/ 91-103.pdf

RAR RUS 104-117 0009-0003-8978-965X HSE University Nikonov Arsenii

Moscow, Russia

The Microphone as a Medium of Authenticity in Soviet Estrada Song This article focuses on the notion of authenticity as a characteristic of a specific vocal technique that has its own specificity in relation to Estrada song. The significance of vocal authenticity in the Soviet context is shaped by cultural, technological, and ideological factors functioning within specific historical circumstances. As a case study, the article examines debates surrounding the “small” and “whispering” voice in singing practice during the 1950s and 1960s, based on which the changing configuration of relations between voice and text is traced. Despite the aspiration of Soviet institutional criticism to preserve the previous characteristics of the singing voice and its representational function, formed during the period of Socialist Realism, the development of microphone technology and sound-recording practices contributed to the establishment of a different logic of vocal statement, within which authenticity begins to be understood not as a reflection of an already existing reality but as an effect of its constitution. In this context, Estrada song, detaching itself from cinematic plots, operetta narratives, and stable character types, during the Thaw period increasingly articulates the connection between the voice materiality and the stage persona through the category of sincerity. The article is situated at the intersection of voice theory, media studies, and studies of cultural policy and addresses the heterogeneous sources of the origin of the Estrada genre in urban forms of entertainment culture and its subsequent formation as a specific system of late Soviet production, as a result of which song product becomes “popular” not so much through the expansion of audience reach as through the organization of a feedback loop between performers and listeners and a reorientation toward economic value and what could compete with “Western” musical genres during the Cold War 10.48417/technolang.2026.02.09 130.2: 621.395.61 Voice Technologies Authenticity Soviet Estrada Stage persona Popular culture Cold War https://soctech.spbstu.ru/article/2026.23.9/ 104-117.pdf

RAR RUS 118-127 Russian State Social University Irza Natalia

Moscow, Russia

Giving Voice to Silent Film: Iraida Yusupova's Music for “Space Flight” (1935) The practice of adding a new musical score to old silent films is common among modern composers. This is due to the desire to modernize old cinema, as well as the fact that the music accompanying silent films during their creation was often random, improvised, and therefore easily replaceable. But for successful dubbing, it is necessary to accurately understand the specifics of silent films, their artistic structure, which is fundamentally different from sound cinema. An example of successful work is the music by Iraida Yusupova for the film Space Flight (1935). This is the first Soviet science fiction film about the conquest of the Moon, with eminent scientist Konstantin Tsiolkovsky participating in its creation. In this work, the composer follows the rules of silent film, creatively reinterpreting them. The soundtrack to this film is a multi-layered score consisting of orchestral music, vocals (solo and choral) numbers, electronic sounds imitating noises or forming melodies, and even cues. Each of these layers is characterized not only by a specific timbre, but also by leitmotifs that run through the whole picture in a modified or unchanged form. The way this multicomponent canvas is organized is a total counterpoint at all its levels. This is a polyphony of samples – sound, arbitrarily short units of meaning that are accelerated, decelerated, superimposed on each other, and combined with other elements of the musical canvas. The second level is the polyphony of the noise layer and orchestral music. Another contrapuntal pair is a sound sequence and a video sequence. And finally, the fourth is the polyphony of styles. Stylizing the music of the 30s, Yusupova resorts to the technique of ironic detachment from the original, which shows the author's handwriting as a composer. This postmodern aesthetic makes this work original, witty, and combines the past, present, and future in one space. 10.48417/technolang.2026.02.10 791.43: 78 Silent film Film music Artistic space-time Film dubbing Total counterpoint Postmodernism Iraida Yusupova https://soctech.spbstu.ru/article/2026.23.10/ 118-127.pdf

RAR RUS 128-145 0000-0002-3287-535X Suleyman Demirel University Elnur Ahmet

Isparta, Turkey

Displaced, Distorted, Reclaimed: “Voice” in Metal Music Metal music studies have extensively examined the genre's engagement with power, transgression, and social critique. By contrast, the lyrical construction of “voice” as a thematic and philosophical phenomenon has received comparatively little scholarly attention. This study addresses this gap by investigating the relationship between metal song titles that feature different grammatical variants of the word “voice” and distinct ontological and affective themes. The naming of voice in song titles signifies a distinct ontological position rather than a mere compositional choice and constitutes the core argument of this study. A purposive sample of 169 songs titled “Voice,” “Voices,” “The Voice,” “The Voices,” or “A Voice” was compiled from the Encyclopaedia Metallum, and their lyrics were subjected to qualitative content analysis. Textual segments were coded to identify the source, nature, and response of the voice, and then refined into comprehensive thematic categories based on Foucault's theorization of disciplinary power, Kristeva's concept of abjection, and Bakhtin's dialogism. Accordingly, three principal themes were identified. The authority theme, as evidenced by the use of definite-article titles, constructs a singular, inescapable sovereign voice commanding obedience. The abjection theme, which is dominant in the bare plural “Voices,” portrays voice as a multiplied, chaotic phenomenon tied to psychic dissolution, fear, and violence. The agency theme, as manifested in both bare and indefinite singular titles, positions voice as a site of self-empowerment, political resistance, and dialogic potential. The predominance of the abjection theme within the metal imaginary suggests that voice is most commonly interpreted as a form of psychic crisis rather than as a manifestation of authority or empowerment. These findings contribute to the field of metal music studies by demonstrating that lyrics provide a rich source for systematic, theory-informed investigation and that metal music constitutes a significant cultural archive for the broader interdisciplinary study of voice and subjectivity. 10.48417/technolang.2026.02.11 78.01 Abjection Dialogism Disciplinary Power Lyrics Metal Music Subjectivity Phenomenology of Voice https://soctech.spbstu.ru/article/2026.23.11/ 128-145.pdf

RAR RUS 146-157 0000-0002-7740-6768 Darmstadt Technical University Pezzica Leon

Darmstadt, Germany

Whispers of a Fibre Optic Cable – Technogenic Echoes as Eerie Technofutures in Wilke Weermann’s Unheim In his play Unheim, Wilke Weermann envisions a dystopian future shaped by imaginative forms of interplay between humans and smart technologies: smart homes are inhabited by ghosts in the form of previous residents that have imprinted themselves into the home’s technologies by interacting with it. The home continues to produce technological acts as if the human would still be living in it, shaping itself around an absent person – and by that creating the un-home-ly notion of a ghost, as an echo of the previously human inhabitant. The phenomenon of echo appears in Unheim both traditionally as the repetition of voice as well as in the form of non-vocal acts within communicative context being replicated. In this article we aim to analyse the world presented in Unheim in regard to its contribution towards a process of meaning creation in considering certain human-technology-relations that can be opened up to hermeneutical analysis. By employing a grammatical approach towards technology, the latter can be understood as technology games (in reference to Wittgenstein’s language games) and a way we do things. It is found that in Unheim, conveyed through the notion of echo, smart home technologies perform moves that constitute a shift from a way we do things to a way things do things that is abstracted from human activity. This way things do things that is inscribed into the smart home establishes things as being autonomous in a specific way that is indifferent to humanity and therefore calls into question accountability by humans for technological developments. 10.48417/technolang.2026.02.12 81`22: 791 Unheimlich Echo Eerie Hermeneutical Technology Assessment Autonomous Technology Uncanny Dwelling https://soctech.spbstu.ru/article/2026.23.12/ 146-157.pdf

RAR RUS 159-171 ABH-2113-2021 57202683981 0000-0002-1234-5678 Russian-Armenian University, Yerevan, Armenia Margaryan Yervand Dead City: The Semiotics of Post-Apocalyptic Urbanism in Contemporary Cinema The city is viewed as the quintessence of human civilization – a space where architecture, infrastructure, and social practices form a unified semiotic mechanism for the production of meaning. This study focuses on the transformation of this mechanism following the disappearance of its primary actor, the human. Drawing on key genre works – 28 Days Later (2002), I Am Legend (2007), The Road (2009), A Quiet Place (2018), Mortal Engines (2018), and the television series The Last of Us (2023) – the article analyzes the visual and acoustic semiotics of the “dead city.” Particular attention is paid to iconic imagery: the deserted Westminster Bridge (28 Days Later), where the absence of urban noise generates the effect of “silence as text;” a vegetation-overgrown New York City (I Am Legend), where nature consumes the architectural symbols of capitalism; and the post-industrial ruins in The Road. Through the theoretical lenses of Marc Augé, Jean. Baudrillard, Yurii. Lotman, Michel Foucault, and Andrey Tarkovsky, the transformation of urban space from a locus of vital activity into a zone of semiotic entropy is examined. The research methodology combines visual film semiotics, the cultural anthropology of urbanism, and phenomenological spatial analysis. A frame-by-frame analysis of key scenes reveals the specifics of post-apocalyptic representation: the capturing of the city as an archaeological monument to itself (28 Days Later); the transformation of the soundtrack into an instrument of terror (A Quiet Place); and the phenomenon of natural recolonization that creates a visual palimpsest where nature and culture enter into dialogue (The Last of Us). The study also conceptualizes the phenomenon of “automated systems without humans” – an infrastructure that continues to function in the absence of its creators. Three key dimensions of post-apocalyptic urbanism are identified: visual ruination (architectural decay as a metaphor for civilizational collapse), acoustic inversion (the replacement of urban noise with anxious silence), and natural recolonization (the return of the biosphere to anthropogenic space). The dead city is shown to function not merely as a backdrop for catastrophe, but as a complex semiotic text that encapsulates not only the end of civilization but also a critique of contemporary urbanism, anthropocentrism, and technological progress. 10.48417/technolang.2026.02.13 81`22: 791 Post-apocalypse Urban semiotics Urban anthropology Visual culture Acoustic environment Film analysis Cultural memory Anthropocene Ruination Natural Recolonization Artificial intelligence Non-places Simulacrum Heterotopia Semiosphere Ba https://soctech.spbstu.ru/article/2026.23.13/ 159-171.pdf

RAR RUS 172-188 0009-0001-8140-7237 Shenzhen Technology University Zhou Bing

Shenzhen, China

The Concealment of Meaning – On Husserl's Triple Critique of Mathematical Technization, Mathematization as Technology, and the Technization of Natural Sciences In an era marked by the increasing proliferation of technology and frequent technological crises, Husserl’s critique of the technization of modern European science is of great significance for understanding the essence of technology. Although he did not explicitly propose a definition of technology, he clearly delineated the differences between technological phenomena and scientific meaning, distinguished science from technology, and discussed the interactive relationship between them. He conducted a triple critique of mathematical technization, mathematization as technology, and the technization of natural sciences, pointing out that modern science has degenerated into technology, issuing a prophetic warning against the crisis caused by this transformation, and proposing a countermeasure to resist technological erosion and retrieve the primordial meaning of science by returning to the everyday lifeworld. This critique, however, does not imply that Husserl was opposed to technology as such. He understands that the formation of mathematical science results from a technological impetus. Therefore, an analysis of Husserl’s thoughts on technological critique is conducive to understanding the technological essence of modern science and clarifying the relationship between science and technology. It also shows how strongly Husserl’s phenomenology is committed to the tradition of rationalism and, as such, can function as a technical countermeasure to the technization and crisis of science. 10.48417/technolang.2026.02.14 165:62 Husserl Technology Mathematization Science Lifeworld https://soctech.spbstu.ru/article/2026.23.14/ 172-188.pdf

RAR RUS 189-209 0000-0003-1475-1967 Financial University under the Government of the Russian Federation Dubinina Galina

Moscow, Russian Federation

0000-0003-2942-0976 Financial University under the Government of the Russian Federation Stepanyan Irina

Moscow, Russian Federation

Challenges of Cognitive Capitulation on Mastering Academic Disciplines in the Digital Environment The present study was conducted in response to the alarming cognitive challenges that arise in the academic digital environment. The paper examines the impact of artificial intelligence (AI) on the mastery of academic metadisciplines and compares educational resources based on AI and traditional human-led instruction. The complexities related to preventing cognitive capitulation in studying academic metadisciplines such as math and English for specific purposes are considered. The article explores how Russian and foreign students process information in digital environments and demonstrates that integrating math and digital tools into English-language teaching enhances learning for Russian students and assists foreign students in overcoming language barriers. The study concludes that digital technologies increase motivation and reduce anxiety for low-skilled students, but they also pose challenges, especially when unconscientious students mindlessly rely on AI to complete assignments, which negatively affects their academic performance. However, surveys show that thoughtful and motivated students creatively use AI to develop their skills and critical thinking. The main conclusion of the study is that educational technologies, including digital tools and AI, should be balanced and seamlessly integrated into education. The article evaluates the pros and cons of new educational technologies and determines their suitability for preventing cognitive capitulation. The study finds that AI can both exacerbate cognitive problems and contribute to their resolution. The authors propose a professionally oriented strategy that reduces stress through interdisciplinary collaboration and the use of technology. 10.48417/technolang.2026.02.15 378 Intellectual Difficulties Cognitive Capitulation Digital Educational Environment Scaffolding Cross-disciplinary Cooperation Artificial Intelligence Training for International Students Meta-disciplines https://soctech.spbstu.ru/article/2026.23.15/ 189-209.pdf

RAR RUS 211-220 0009-0009-1001-3538 Shenzhen Technology University Shizhen Liu

Shenzhen, China

0000-0001-5346-0447 Shenzhen University Deng Pan

Shenzhen, China

Measuring the Invisible: A Review of Thomas Morel’s Underground Mathematics Thomas Morel’s Underground Mathematics reconstructs subterranean geometry, or Markscheidekunst, as a neglected form of practical mathematics developed in the mining regions of the Holy Roman Empire. Morel presents mine surveying as a craft culture in which measurement, legal procedure, manuscript practice, map-making, and administrative record-keeping jointly made the underground knowable. This review reads the book through technical language, representation, and trust. Its central claim is that hidden subterranean space became measurable, legible, and usable through situated procedures and records. Surveying rituals, handwritten manuals, maps, and administrative documents did not merely record technical practice, they helped define what counted as reliable knowledge within mining communities. For readers concerned with technology and language, the book is valuable because it shows how authority emerged through the interplay of vocabularies, instruments, numerical measurement, visual forms, and legal-administrative procedures. The book is therefore important for historians of mathematics, mining, and craft culture, as well as for readers interested in how technical practices generate legibility, authority, and trust. Although Morel could have developed more explicit reflections on technical language, visual mediation, and the geographical boundaries of subterranean geometry, Underground Mathematics remains a compelling study of how measurement, inscription, and visualization transformed hidden subterranean spaces into objects of knowledge, judgment, and administration. 10.48417/technolang.2026.02.16 51-7: 622.33 Subterranean geometry Practical mathematics Manuscript culture Technical representation Craft knowledge https://soctech.spbstu.ru/article/2026.23.16/ 211-220.pdf