Abstract: This article examines the history of the creation of game theory as a phenomenon of culture and art. Contribution of theorists and artists of the twentieth century in the formation of game theory, its place in modern art criticism and philosophy. The significance and influence of the personality of Marcel Duchamp, surrealist artists in creating a modern understanding of the game in art and in life. The subject of the research in this article is such concepts as the game and its place in art criticism in general, and the role and significance of the chess game in particular, using the example of the creativity and activity of Marcel Duchamp. The author's view on understanding the problem of the mutual influence of the chess game and artistic creativity is proposed. An attempt is made to explain the motivation for choosing a game as an artistic principle and method. How important is the use of the game in creating an artistic image, the creative image of the artist is also significant. The methodology of the study is based on the basic principles of the game theory of Roger Caillois and Johan Huising in relation to the chess strategy of Marcel Duchamp. The novelty of this work lies in drawing attention to the role and significance of the chess game on creativity, the influence on the aesthetic, artistic and philosophical views of the artist.

Keywords: ready-made, Dada, Tarot, surreal games, taxonomy, Johan Huizinga, Roger Caillois, Marcel Duchamp, chess game, Man Ray

Abstract: This publication aims to analyze the economic, social, and cultural phenomena that first appeared in the "era of revolutions" that occurred in the nineteenth to early twentieth centuries. The modern European trend toward tolerance, which is the basis of current social and cultural changes, including in our country, has specific intellectual grounds. The subject of the study was the ideosphere of the nineteenth and early twentieth centuries, including philosophical, economic, and psychological concepts that gave rise to modern trends in these areas. The result of this study was the determination of the reasons that caused the change of the ideological paradigm in Europe. The novelty of the research lies in the fact that, for the first time, the intellectual foundations of the formation of tolerance as an actual socio-cultural phenomenon are analyzed. This article consistently proves that among the first such grounds, it is possible to determine the emergence of machine production and, as a result, the appearance of a mass person with a culture corresponding to them, performing a compensatory and entertaining function. The most important cultural foundation is mainly the intellectual "background" created by the teachings of Friedrich Nietzsche, Karl Marx, and Sigmund Freud. The ideas of Anglo-American pragmatism played a significant role in forming a new morality, which included the denial of religion and its values, giving it a utilitarian character. During the subsequent historical period and at present, these views have become the basis for the creation of the so-called "individual faith," in which religion ceases to be the guide of human life but only serves the needs of the individual. The desacralization of religion leads to the study of different aspects of sexuality, which opens up the possibility for modern thinking about gender. The concept of "natural law" should also be attributed to the intellectual factors of the formation of modern European tolerance.

Keywords: desacralization of religion, European tolerance, intellectual foundations, values, religion, individual faith, the proletariat, culture, natural law, ideosphere

Abstract: The paper hypothesizes the possibility of applying the mathematical construction of the Taylor series in the semantic space. Then symbolic forms, like some spiritual functions that display the immanent in semantic space and are explicated in the form of verbal constructions, can be tried to decompose into a Taylor series. The first terms of the Taylor series of thinking functions carry basic meanings that are conjectured by secondary forms, tertiary, etc., as in the case of the usual Taylor series, where the first term of the series is a constant, the second term is linear, determined by the first derivative of the function, the third is quadratic, otherwise acceleration. The paper shows that all of the above can be found in the paradigms of thinking called Foucault epistems. The world in ancient philosophy seemed unchangeable or cyclical, which refers us to the concept of a constant or the first term of the Taylor series of the function of thinking. With the advent of Christianity, the circle of time turned into a straight line, the concept of evolution appeared. This stage was completed by Galileo, who introduced the idea of speed into the paradigm of thinking, which completed the formation of the second, linear term of the Taylor series of the thinking function. The third term of the series appeared in Newton's theory and entered the next episteme with the idea of acceleration. Deductively, one can continue the decomposition of the thinking function into a Taylor series and imagine the appearance of a member of the series responsible for the third derivative.

Keywords: a priori, mind, epistems, Hegel, epistemology, spiritual function, apperception, symbolic forms, hierarchy, Taylor 's row

Abstract: The metaphor of the labyrinth in the second half of the XX century becomes an iconic model of the postmodern world order. In musical culture, the phenomenon of the labyrinth has acquired the meaning of a symbol of intertextuality, a game with cultural codes and musical heritage of the past, multivariance, variability, uncertainty. The ballet "Labyrinths" by Alfred Schnittke is an example of the embodiment of the labyrinth paradigm and is the object of research. The subject of the study is the peculiarity of the implementation of the idea of the labyrinth at the compositional and dramatic level of the ballet cycle. In the light of the author's individual interpretation, the labyrinth model takes the form of a "macrolabirint" and a "microlabiint", where the macrostructure is the construction of the whole, and the microstructure is the last, fifth part. The novelty of the research lies in the consideration of the compositional and dramatic features of the ballet "Labyrinths" in the context of the metaphor of the labyrinth. The concept of the "macrolabyrint" contributed to the relief display of the principles of symmetry and centralization inherent in the labyrinth of the classical Cretan type. Symmetry in the ballet cycle found expression in the structure of the extreme parts, in their author's division into sections, the presence of a reprise in Maestoso and Meno mosso, a single tonal organization interspersed with modal episodes, the assertion of the third c–e in the intonation system of the parts. Centralization of the Cretan labyrinth was reflected in the endowment of the fourth part with the properties of the culmination point, characterized by an increase in sonorous qualities, an abundance of cluster verticals, and heterogeneous stratified tissue. The concept of "microlabirint" contributed to the depiction of the multivariance of the maze-confusion in the fifth part of the ballet. The nonlinear movement of the characters along the branched labyrinth model was carried out by the interaction of contrasting sections correlated with deviation into various emotional states. The conducted research allowed us to conclude about a new interpretation of the labyrinth paradigm in ballet in the light of Schnittke's individual author's handwriting.

Keywords: centralization, symmetry, maze-confusion, the Cretan labyrinth, microlabirint, macrolabirint, postmodern metaphor, ballet, Schnittke, dramaturgy

Abstract: The object of research is the connection between language and culture. The subject of the study is the mutual influence of language and culture in the socio-institutional aspect. The author examines in detail two functions of language in relation to social institutions. 1) Performing a socio-constitutive function, language is the basic condition for the existence of institutions. 2) Performing a socially representative function, language reflects the specifics of social relations of a particular culture. It is proved that the existence of social institutions depends on the presence of language, and expressions about institutional facts have both performative and constative meanings. Special attention is paid to the hypothesis of linguistic relativity in the analysis of expressions about institutional facts. The scientific novelty of the research lies in the interdisciplinary consideration of the issue with the involvement of theoretical models from the philosophy of language, sociolinguistics, the science of social institutions. The author's special contribution to the research of the topic is to solve the problem of the connection between language and culture based on the theory of speech acts in its application to the study of social institutions and institutional facts. The main conclusion of the study is that the analysis of the constitution and representation of institutional facts is the most fruitful for substantiating the concept of linguistic relativism, since if an institutional fact is not presented linguistically, then it does not exist as such.

Keywords: linguistic relativism, constitutive rule, status function, the theory of performativity, theory of speech acts, the socially representative function of language, the social-constitutive function of language, social institution, culture, language