Abstract: The given abstraction is investigated. The existence of its relational states (extensional or intensional reality) is revealed. Some types of abstraction are analyzed, in particular, the abstraction of identification, isolating, etc. It is shown that the first is given intensionally, and the second is extensional. It is concluded that abstraction and idealization are two sides of the same process. The interval methodology and the phenomenological approach (as interpreted by A. Meinong) are used. It is noted that for each "size" of the abstraction interval – and there are only three of them: "situation", "co-existence" (a set of subject–related situations) and "universe" - there are different types of abstractions. In particular, the abstraction of constructivization is given in a situation, and the isolating one is given in co–existence. It is concluded that the question of the existence of abstractions in itself is incorrect. The existence of objects (concrete or abstract) is just one of the many modes of being objects. Abstract objects are characterized by a weaker mode than those that actually exist. Existence, as one of the states of reality, is eliminated by itself in the modus interpretation. It is more appropriate to talk about the existence of any objects in a situation (in co-existence, in the universe) with some kind of mode for the "I" and/or for the Other (Others). Thus, abstract objects exist in the given just like any other, including those that actually exist.

Abstract: The author examines the reality of an object in a situation. Such a given is due to the corresponding actual (intentional) property that forms the situation with the studied object in the act of attention. In a situation, an object has its own way of being – a mode. Modes are conditionally divided into strong and weak. In epistemological terms, the reality of an object in a situation has two states relative to each other, depending on the position of the cognizing subject in relation to this object. In accordance with this, the object is known either intensionally or extensionally. A phenomenological approach is used. The difference between internal and external observers in the constituted situation is shown. Such a distinction does not occur at all, but depends on the actual property in the situation.
The act of cognition introduces asymmetry into the reality of its relational states: one of them will be relevant (with a strong mode), the other – only possible (with a weak mode) in the same situation. This asymmetry, in particular, manifests itself in wave-particle dualism and is expressed through the principles of complementarity and uncertainty. In particular, it is shown that the complementarity principle indicates the duality of the given object, expressed through its relational states, and the uncertainty principle indicates the difference of modes (strong and weak) of these states in the same situation. In support of what has been said, some other examples from physics, as well as from mathematics and everyday life are given.

Abstract: The features of abstracting objects in three segments of reality differing in "size" are investigated: "situation", "co-existence" (situations) and "universe". At the same time, abstraction of objects can be of two types: "internal" and "external". In the first case, it is an idealization according to an intrinsic property, in the second case, it is a distraction from some external aspects set in the corresponding segment of reality, in the region of being in which the object has meaning. The purpose of the work is to identify the features of abstracting objects with a phenomenological approach. The general concept is due to the interval methodology. It is noted that with the phenomenological approach, the nature of abstraction depends entirely on the "size" of the corresponding segment of reality (in the methodology, the abstraction interval). The presented innovations are described in detail on the example of the concept "color". The difference between the concept of "color" (as a result of "internal" abstraction) and the concept of "color" ("external" abstraction) is revealed. The role of a specific color, categories of color and chromaticity in the intending of objects of color reality is differentiated. The abstraction of color in different segments of reality is studied, in particular, a specific color in a "situation", a category of color in a "co-existence" and, finally, chromaticity in a "universe". The special role of gray (achromatic) color in vision is revealed. The abstraction of gray color plays an important role in the perception of colors both in everyday life and in aesthetics (painting).

Abstract: For the “Self”, color is a color text, a structure consisting of two elements: internal context (content: tone, saturation, brightness) and external context (conditions under which color actualizes in a situation: lightness, proximity, etc.). Perception of the color is when the content overlays the conditions. The modes of color are revealed depending on the ratio of indicated contexts. There are three color modes: visible, invisible, and colorless. The goal of this article is to describe the color modes, and their correlation with contrast and complementarity of colors, what entails bi-level perception of color. The article employs situational and phenomenological approaches. Visible color for the “Self” occurs when the internal context completely overlays the external context. Invisible color occurs in the presence of internal context and absence of one or more external factors: no tone, no contrast with background, etc. “Colorless” mode occurs when the internal context is not fully set in the situation of presence of the external context: no tone, saturation, or brightness. Color in the “colorless” mode is achromatic. The compatibility of separate colors within the color text leads to the phenomena of complementarity and contrast ratio, which are interrelated with the color modes. There are two levels of color perception: 1) fundamental, i.e. is the perception of achromatic color with gradations from sharply white to pure black; gray color with varying degrees of brightness is present in chromatic colors (as the “base”); 2) perception of the chromatic colors, founded on the colorless “base”. Such bi-level perception of color is substantiated by the fact that the consciousness seeks harmony and balance, i.e. minimization of perception of the visual.

Abstract: This article methodically addresses the main features of hermeneutics of color. Its uniqueness is based on the subjectivity of perception of color by the cognizing subjects. Due to such “gap” in understanding, substantiated by the subjectivity of a viewer, emerges an aesthetic moment in perception of the visual. Interpretation is based on the analysis of the peculiarities of color texts, the so-called “atoms” of color reality (phenomenological generalization of the concept of “color”), and is accompanied by application of the obtained conclusions to the analysis of the language of painting. The understanding of color text is realized as correlation of the internal and external contexts. The first one includes the constant content, while the second incorporates all of the aspects that are justified by the situation and state of the viewer himself. The meaning of color texts is defined as a result of the “color conclusion”: received impression, created image. Viewer is endowed with the function of completion. In communication, the understanding of color text is based on the categories of color: linguistic (verbal) and basic (color). Within the framework of philosophy of the Other, becomes relevant the question of adequacy of conveying the “color meaning” from Self to Other. Such adequacy may vary and depend on the accepted rules of the language game (according to L. Wittgenstein). The language of painting is described in procedural aspect and exists in two forms: the language of painting as such (is based on differentiation of painter’s activity into inseparable components), and the metalanguage, structured within the mind of painter or viewer based on the creation of images. The author presents the analysis of interpretation process of paintings in the context of the language of painting, as well as within the framework of metalanguage.

Abstract: The subject of this research is the phenomenon of understanding, associated with it ambiguity and meaning of the language elements (words, sentences or text). The author examines their dependence on marginal conditions, within which the understanding has taken place. Ambiguity of understanding, in turn, is justified by the dichotomy of intensional (actual) quality of language objects (words, sentences or text). Such quality is given within the inner context (through which the object prevails), but unfolds in regard to the subject within outer context using the corresponding marginal cognitions (natural paradigms). The process of understanding is perceived as a process of achieving completeness of conformity of the actual quality, set in the inner context, its manifestation in the outer context in regard to the subject. Based on phenomenological approach, the author determines the marginal conditions. The author describes the essence of hermeneutic circle, as well as interrelation between expectations and intuition. Understanding as a process always has two vectors of development: horizontal and vertical. This matters in learning. Depending on correlation between the marginal conditions and expectations of the subject itself, the author identifies the difference between possibility and probability of understanding. The scientific novelty consists in substantiation of the ambiguity of understanding through the dichotomy of intensional (actual) quality of language elements. Understanding and sense is examined depending on the accepted by the subject natural paradigms (marginal conditions of understanding). The article analyzes the dialogueness of understanding in communication between “Self” and Other, as well as the influence of marginal conditions in hermeneutic logics. The perceived idea behind the text or its part in communication is often deemed through interrelation of senses: subjective (understood by Self) and intersubjective (meant for understanding by the Other).

Abstract: Using the phenomenological approach, the author attempts to demonstrate that the concept of “color” from the ontological perspective can be introduced as a special type of color reality. At the moment of intention it manifests through the color text. In the context of intentionality, such text represents a coherent whole, which constitutes in consciousness based on the perception of color of a particular subject and the overall situation it is placed within (illumination, color carrier, color combination of the surrounding subjects, etc.). The scientific novelty is substantiated by the need for providing a comprehensive universal approach to the ontology of color. The author determines the main attributes of color reality and its relation to the cognizing subject (stability, abstraction and categorization, hermeneutics, dynamism, and others); describes two of its basis: chromatic and achromatic; as well as underlines its stable components (invariants) manifested in language through the categories of color. Based on such invariants, for expressing the color reality is created the metalanguage, which important attribute is the statistical ground of its formation. The invariants of color reality also manifest in culture through using the same colors in rituals and traditions. Analyzing the previously published data from the Russian and foreign literature, the author suggests the principle of relativity: color reality actualized in the specific color text corresponds to such overall state of cognizing subject, in which he is willing to perceive it at the moment of intention. At the same time, the physiological and psychical peculiarities of the subject alongside his language and cultural traditions are being considered. In intersubjectivity, the boundaries of language, the aforementioned principle is reflected through the hypothesis of linguistic relativity of Sapir-Whorf.