Abstract: The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. In this context, it is necessary to reveal the role of aesthetics as a fundamental philosophical science, to raise its originality to theoretical consciousness by reflection. Here, first of all, the question arises about the meaning of the image of aesthetics, which is on the other side of the canvas, about the relationship of aesthetic attitudes and the world concept of philosophy.   The main conclusions of the study are the provisions on aesthetics as the metaphysics of a work that produces infinity, expressing the "musical identity of all things" in the aesthetic facet of the world concept of philosophy. Aesthetics is also the feeling of the ideas of the original reality, the spiritual contemplation of superexperienced, supersensible grounds; this metaphysical a posteriori is precisely the primordial freedom of all creation, the freedom of art in contact with nature. Aesthetics is initially immersed in the fabric of metaphysical reflection, which in some cultural traditions is described as creative. And for aesthetics, the question is important, what is the structure of this principle, what is the way of dressing its mental tissue.

Keywords: transcendentalism, culture, music, painting, art, aesthetics, metaphysics, Philosophy, Kant, Mamardashvili

Abstract: The article is devoted to the philosophy of industrial design as the most important area of aesthetic and engineering activity of people, shaping the appearance of modern society. The object of the study is industrial design, and its subject is the philosophical foundations of industrial design. The goal of the study is to identify the philosophical essence of industrial design in epistemological, ontological and anthropological dimensions. Attention is paid to the historical aspects of industrial design, which allows us to more accurately understand the essence of this phenomenon. The author’ also considered modern industrial design, which in its philosophy is characterized by a strong anti-globalist orientation. It is noted that the philosophical understanding of industrial design contributes to the understanding of the features of its historical development. The main conclusion of the study is that industrial design has a certain philosophical content associated not only with the aesthetic side of reality, but also with its axiological and ethical structure. The epistemological problems of industrial design are important: products act as carriers of certain knowledge and concepts and accumulate the cultural experience of mankind. Anthropological problems of design are associated with the model of a human creator and a human recipient of activity. The scientific novelty of the research lies in the understanding of industrial design, which is a systemic object, developing in space and time. In its existence, this object combines presence and “service”, independent givenness and significance for a person.

Keywords: meaning, form, subject, thing, anthropology of design, ontology of design, epistemology of design, industrial design, design, consumption

Abstract: The subject of the study is the concepts of "metaphilosophy" in the works of several modern domestic and foreign scientists-metaphilosophists. The relevance of the article is due to the presence of a variety of metaphilosophical concepts, which, pursuing one common goal – to understand and explain what philosophy is, come to different and often contradictory conclusions. The article aims to compare the metaphilosophical concepts of domestic and foreign authors (T. I. Oizerman, M. K. Mamardashvili, J. Deleuze and F. Guattari, T. Williamson and N. Rescher) according to certain criteria. Within the framework of the task, it is proposed to identify the essential characteristics of the concept of "philosophy" of the listed authors and to propose a variant of the typology of modern concepts of metaphilosophy. The article uses the method of comparative analysis. The novelty of the research lies in the fact that the author, analyzing the existing typologies of metaphilosophical concepts (on a conceptual and methodological basis), offers a third variant of the typology in relation to the possibility of progress in philosophy and its prospects. The author draws attention to the fact that the understanding of metaphilosophy in the concepts of the scientists under consideration (Oiserman, Williamson, Rescher, Deleuze and Guattari) reveals interesting parallels and collisions. The author comes to the conclusion that in order to better understand the nature of metaphilosophy, it is necessary to identify the essential characteristics of the concept of metaphilosophy in the concepts of different scientists. The picture of metaphilosophy turns out to be diverse and contradictory, because according to the authors considered, metaphilosophy is "cabinet"; - pluralistic; - "aporic"; - self-reflexive; - dialectical; - is in constant development; - guided by the principles of pragmatism and efficiency; - able to give satisfactory answers to current questions; - is not absolutely rational, but contains an element of intuition.

Keywords: mamardashvili, Oiserman, dialectics, methodology of philosophy, typology, progress in philosophy, comparative analysis, philosophy of philosophy, metaphilosophy, the essence of metaphilosophy

Abstract: The article deals with Heidegger’s interpretation of antique ontology, in which Being was conceptualized in terms of production. What is this interpretation and why is it so important? Until recently, it has been difficult to answer these questions, since the texts in question have only in recent years become publicly available, and therefore have not yet been fully absorbed in Heideggerian-studies. Consequently, even the very useful works that cover the subject of production-theme in Heidegger focus more on the question of technique and do not consider the formation of this problematic, and therefore do not deal with it substantively. In the years 1921-1924, Heidegger was closely involved with Aristotle and lectured on his favorite philosopher for four years. It was during this period that he began to interpret Being in Aristotle as being-made, being-produced (das Hergestelltsein), and then extended this interpretation to the whole of ancient and medieval philosophy. This is a very remarkable moment in terms of methodology that characterizes Heidegger as a historian of philosophy. In this article, the author examines Heidegger’s interpretation of ancient ontology, revealing its weaknesses.

Keywords: production, movement, care, Plato, Aristotle, Heidegger, antiquity, ontology, pre-having, Being

Abstract: The subject of research in this article is the question of the possibility of formalizing the general theory of systems, that is, turning it into a language for describing systems of any nature with unambiguously defined lexical units and rules. To answer this question, the author considers the phenomenon of semantic indeterminacy of languages, which ensures the flexibility of formed lexical constructions due to the multivalence of lexical units. Also the subject of the research is the practice of quoting out of context – a phenomenon, the admissibility of which is conditioned by the isomorphism of lexical constructions, as well as by the creative nature of the cognitive process, in which the result of cognition is unknown in advance, and thus the change of interpretation of the used concepts is inevitable. The conducted research allows us to state that the general theory of systems cannot be exclusively an applied theory, but should be supplemented with an ontological component. In this case, it becomes a philosophical theory, for which full formalization is impossible without loss of functionality. As a result, general systems theory must inevitably retain a certain semantic uncertainty. This uncertainty, however, can be reduced by translation into universality and generalization of concepts. Besides, it is possible and in some cases necessary to formalize separate components of the general theory of systems, in particular, its ontological component - the metaphysics of material existence.

Keywords: interpretation of concepts, isomorphism, context, citation, semantic uncertainty, language, formalization, lexical units, general systems theory, ontology

Abstract: The object of the study is the university quarter as a socio-cultural phenomenon. The subject of the study is the forms of cultural interaction between the university quarter and the city. The use of comparative and typological methods made it possible to identify and describe four forms of university presence in the city space, grouped around two basic directions. The first direction assumes the priority of the university in relation to the city, which gives rise to such a form of their interaction as a "university city". In this case, university activity, in fact, fulfills the role of the economic basis of urban life. The second direction, which is characterized by the leading role of the city, is represented by the student quarter, campus, university quarter. And in this case, we can talk about the "growing" of the university into the urban space, which has both its positive and negative sides. Special attention is paid to the university quarter, the need for which is associated with the expansion of the university's interaction with the urban community. Combining the project nature, openness, flexible targeting, it demonstrates greater potential compared to traditional options. In turn, the university quarter project can be represented by various complementary options. The analysis of the Samara experience of its design revealed two promising forms of its implementation: building a citywide university space and updating the historical past on the basis of available university resources.

Keywords: the past, history, student quarter, university presence, university city, campus, university quarter, university, urban space, city

Abstract: The article examines the content of human nutrition, based on an axiological approach to understanding culture: food can become a carrier of spirituality and cultural value meanings. In this connection, the semantic meanings of such concepts as "food culture" and "gastronomic culture" are revealed. In modern science, everyday food culture correlates with the definition of "gastronomic culture", although to date there is no unambiguous understanding of this multidimensional cultural phenomenon, which is a specific attribute of each regional culture. The subject of the study is the food culture in the Republic of Sakha (Yakutia). The object of this study is the peculiarities of everyday food culture in the Republic of Sakha (Yakutia). To identify possible gastronomic brands of Yakutia, a pilot survey was conducted among residents of the Republic of Sakha (Yakutia). The presented article is relevant due to the fact that currently in modern culture there is a growing interest in the field of everyday food culture. The topic of food covers all areas of popular culture. Many books and periodicals on culinary topics are published. Exhibitions and competitions of culinary art are held. The catering system is actively developing. And these issues seem relevant today from the point of view of cultural knowledge and deserve close theoretical study.

Keywords: Yakutia, national cuisine, gastronomic culture, yakut cuisine, culinary culture, food, food culture, daily life, culture, sakha people

Abstract: This study is a comparative lingocultural research. Its main goal is to identify the peculiarities in the interpretation of the concept of "politics" in Russian and Chinese linguocultures using the semantic context of this term. We compare how different aspects of the concept of "politics" are perceived in each of these cultures and analyze them within the context of cultural features, language nuances, and historical factors. In this research, we employ various scientific methods for analyzing and comparing the understanding of "politics" in Russian and Chinese cultures. These methods include comparative-historical analysis to study the historical context, generalization method for data classification, and semantic analysis method for understanding meanings and connotations. These methods help us better understand the similarities and differences in how different cultures perceive the concept of "politics". While there are numerous studies dedicated to comparing concepts in the Russian and Chinese languages, there is currently a lack of linguocultural studies that analyze the understanding of "politics" within the Russian and Chinese linguocultures. This underscores the scientific novelty and significance of this research. The results of this study will have a significant impact on improving cross-cultural understanding between these two ethnic groups. Furthermore, these results can be used in the development of educational programs in the fields of regional studies and comparative cultural studies, as well as in the process of teaching relevant languages.

Keywords: Semantics, Contrastive analysis, China, Contrastive research, Russia, Language picture of the world, Culture, Comparative analysis, National picture of the world, Concept

Abstract: The subject of the research is a modern graphic and communicative design, in the context of changing existing and forming new roles of communicators, transforming the communication model, forming a semiotic communication format. The object of the research is modern graphic and communicative design, as well as their traditional, digital and generative subdirections. Design beginning to have digital, semiotic-interactive and artificially intelligent characteristics. The author examines in detail such aspects of the topic as: dialogical, semiotic-interactive qualities of design solutions; digital, semiotic-interactive design-software expressive means; features of semiotic-deconstructivity (analyticity) and semiotic-synthetics (constructiveness) of design solutions in the context of design activity; the influence of technical and technological features of tools and design-environments (design systems) for the formation of automated and artificially intelligent qualities of design solutions. The study of the conceptual model of a semiotic-interactive design is carried out in the context of a semiotic-interactive methodology (a set of principles and strategies of design activity). The main conclusions of the study are the description of the conceptual model of a semiotic-interactive design solution, in the context of a semiotic-interactive methodology implemented in the conceptual-generative subdirection of modern graphic and communicative design. The author's main contribution to the research of the topic is to identify the main components of the conceptual model of a semiotic-interactive design solution and demonstrate their relationship with each other in the form of a holistic model. The novelty of the research lies in the description of the characteristics of the components, the conceptual model of a semiotic-interactive design solution: a dialogical semiotic-interactive format for creating invariant concepts and design solutions; versioning of design solutions based on the semiotic synthesis of design programs; semiotic deconstruction of design solutions at the macro and micro levels; semiotic synthesis of design and artistic design programs; application of design programs as decision tools; use of hyperconnected capabilities of the design environment: the history of actions, integrity and continuous change and development.

Keywords: tool-solution, synthetics, deconstruction, versionicity, dialogicit, communicative design, graphic design, design-solution, hyperconnectedness, methodology

Abstract: The subject of this study is the process of entering the art world of a new object – the art of the street wave. Based on the method of discursive analysis proposed by M. Foucault, an attempt is made to determine through which discursive utterances the subjects of the art world form the discourse of street wave art, as well as how the field of utterances is organized. The subject whose activity is being investigated is the St. Petersburg Inloco Foundation, which focuses in its work on artists whose creative career has a street background. The article describes the characteristics of what can be conceptualized as a statement in the activities of the Foundation, and also describes how the field of these statements is organized. In the course of the study, the forms of sequences, forms of coexistence and intervention procedures were considered. It was revealed that the experience of street creativity of representatives of the art of the street wave is being modified under the influence of discursive practices of the field of contemporary art. It is noted that the art of the street wave exists at the junction of two fields – the field of graffiti and the field of institutionalized art. It is concluded that the borderline position of street wave art allows it to expand the field of contemporary art due to the fact that it was once in the field of "non-art", was extracted by the subjects of the art world from the sphere of everyday life and endowed with the status of a candidate for evaluation.

Keywords: Inloco Foundation, street art, institution, statement, discourse, graffiti, art world, art of streets, street wave art, art market

Abstract: In contemporary Chinese art the national traditions and modern trends of the art world are especially relevant. Since the 1980s, in the works of a number of authors, interest began to manifest itself in the techniques of silk work, which was characteristic of ancient and medieval painting on scrolls, which was later replaced by more accessible drawings on paper. At the present stage, such painting has reached its heyday and is highly appreciated in the art market. The most famous masters engaged in silk painting are Mu Yilin and Dong Wenzheng. The analysis of their creations allows us to see how the artists discovered the expressive possibilities of this material, including its transparency, refraction, color and tone saturation. The object of attention is the Chinese tradition of painting on silk, and the subject is the features of its development at the beginning of the XXI century on the example of the work of famous artists and the options they take into account in the compositions of techniques, figurative structure and expressive means of the old masters. The purpose of the article is to identify the main themes and artistic means that modern artists use in their silk works, as well as the option of integrating an ethno-cultural component into their work.

Keywords: Mu Yilin, art market, color in art, art form, contemporary art, painting on a scroll, silk, chinese painting, Dong Wenzheng, traditions and innovations