The fourth issue of Galactica Media (Vol. 7, No. 4) explores the transformation of human experience within digital everyday life. The central theme of the issue concerns the forms of affect, meaning-making, and lived experience in the media environment, where the boundaries between human, technology, and image grow increasingly permeable. The authors examine how digital systems, algorithms, and visual narratives not only mediate being but also become its inner structures — the architecture of feeling, memory, and identity.

The Mass Culture section opens with articles that reinterpret classical narratives and philosophical motifs through the lens of digital mass culture. Elena E. Zavyalova analyzes the memetic reinterpretations of Ivan Turgenev’s short story Mumu, tracing the logic of its internet mythologization and transformation into a media virus. Nikolai B. Afanasov investigates the political-philosophical dimension of the anime universe Fullmetal Alchemist: Brotherhood, showing how the metaphor of the Philosopher’s Stone evolves from a mere MacGuffin into a concept of power and ethics.

In New Media and Human Communication, Zhanna V. Nikolaeva and Anastasiia I. Glushkova revisit Kant’s notion of architectonics within digital philosophy, interpreting the “architectures” of artificial intelligence and complex systems as new forms of rational organization. Zhanna E. Vavilova examines the phenomenon of grandfluencing and its role in overcoming media ageism, revealing how the older generation constructs identity through digital inclusion and self-archiving.

The Panel Discussion section brings together texts on the limits and crises of experience in the era of emotional technologies. Konstantin A. Ocheretyany introduces the concept of Datarsis — a catharsis of the digital age in which experience becomes liberated from action. Ivan B. Mikirtumov explores affect “in the digital” as cauterization rather than purification, while Sergey A. Malinov examines artificial intelligence as a simulacrum of meaning — an entity capable of imitation but not genuine understanding. The section concludes with Bogdan V. Faul’s article on retributive emotions and moral intuitions, where emotion itself becomes a source of normative ethics.

In Cinema Studies, the collective work of Mao Sijie, Chow Ow Wei, Loo Fung Chiat, and Megat Al-Imran Yasin returns to the aesthetics of Chinese wuxia, analyzing Crouching Tiger, Hidden Dragon as a model of cultural ethos that unites rhetoric, image, and tradition.

The Critics & Reviews section closes the issue with Artur A. Dydrov’s essay on the “Tochka” book series, which explores the boundaries of public spaces and the transformation of social discourse in the era of digital capitalism, and Olesya S. Yakushenkova on Rafael Carrión‑Arias’ “Batman and the Shadows of Modernity”, which reveals the image of the famous superhero in the context of key ideological and social contradictions of modernity.

The issue addresses scholars of media, philosophy, anthropology, and cultural studies, as well as readers interested in the existential dimensions of digital experience — from memes to machines, from affects to architectures of consciousness.