Abstract: The article is based on the analysis and summary of the design process of the work of the Chinese author "Stone. Inversion. Vessel". It examines three key aspects of the development of environmental design. Firstly, it is a combination of modern technologies with aesthetic representations of traditional Chinese culture. Through the study of the project, it is demonstrated how traditional Chinese art can be combined with modern technologies when creating a design object. Secondly, the project highlights the features of the development of design in the modern era. It is characterized by problems of volatility, uncertainty, complexity and ambiguity, which can be mitigated through interdisciplinary integration with the use of the latest technologies. Environmental design, thanks to the multifaceted concept of "environment", meets the conditions of development of the modern era. Thirdly, the article focuses on the fact that the communication of the subjects of the creative process is based on the images embodied in a specific project. Environmental design as an interdisciplinary field is based on the methods of different scientific fields, since the environment that changes under the influence of human activity is not the same. In the proposed article, the author uses the art criticism method when describing blue-and-green landscape painting, and also assigns a large role to the communicative method of sociology developed by the American scientist Harold Dwight Lasswell. The novelty of the research lies in the fact that the author was able to show the possibility of a harmonious combination of modern 3D modeling technologies with the traditional Chinese art of blue-and-green landscape painting (青绿山水 qīng lǜ shān shuǐ). In other words, a planar image turns into a design object, with the help of which can be realized various spatial combinations. Through artistic thinking, one can enjoy not only the functional, but also the aesthetic possibilities of the design object. So, in the described project, the author focuses on the imagination of the observer, forcing him to climb a mountain peak, but inside the building. This is how communication takes place between the author, the "viewer" and the project itself. The image is the basis of communication between various objects of the environment involved in the design process. The creative process combines the material (functional) and spiritual (image-induced) needs of a person. Environmental design, through the synthesis of spiritual and material, establishing communication between design objects and integrating disciplines through the prism of an image, explores how design affects human activity.

Keywords: Communication, Short film, Exhibition, 3D modeling, Shan shui, China, Traditional art, Modern technologies, Environmental design, Image

Abstract: This article considers the opposition between the pluralist and unificationist stances in the philosophy of cognitive sciences. The choice between pluralism and unificationism is important both in terms of discussing the current methodological practices and with respect to the debates about the future of the cognitive studies. As a starting point, the author takes his own idea of theoretical complexes. One of its most significant normative consequences is theoretical pluralism. There have been a number of skeptical arguments against pluralism, including the fear of generating many useless theories and dissipating of efforts, as well as the doubts about the differences between pluralism and relativism. One of the most recent objections states that integrative pluralism implies a tension, an instability, if one prioritizes the epistemic quality of explanatory depth. The author addresses each of these objections in turn. The constructive variety of pluralism is distinguished from unbridled pluralism and relativism by its commitment to the idea of improving explanatory, predictive, and other characteristics of a theory through the presence of alternatives and their collisions, mutual criticisms. Integrative pluralism does not entail instability, since the values of unification and explanatory depth cannot be prescribed to the cognitive sciences ex cathedra, without taking into account the character of the cognitive process revealed in empirical studies. The pluralist stance appears to be incompatible with radical projects of unification of the cognitive studies, though there are many opportunities for more moderate integrative initiatives. One such initiative is the recent idea of integrative experiment design, which involves constructing a space of experiments for a particular problem. Testing theories by selectively sampling points in this space and then updating them accordingly may be a key to the integration of experimental observations.

Keywords: theoretical complexes, characteristics of a good theory, relativism, unified theory, unification, unificationism, proliferation, integrative pluralism, cognitive sciences, philosophy of science