Aesthetics of visual art, theater, literature, choreography Fine art. Consultation for educators "Cognitive and aesthetic value of paintings about nature aesthetic paintings
Introduction
Chapter 1. Aesthetic picture of the world in the system of phosophical worldview 14
1.1. Cartin of the world, its features and varieties 14
1.2. Specificity, structure and functions of the aesthetic painting of the world 21
1.3. The ratio of aesthetic painting of the world with a scientific picture of the world .. 26
Chapter 2. The patterns of historical formation and development of the aesthetic painting of the world 37
2.1. Theest painting MIR protonic era 35
2.2. Aesthetic picture of the world of the era of classical science 60
Chapter 3. Aesthetics and the picture of the world of postclassical period 85
3.1. Accordable approaches to the problems of the modern world 85
3.2. Methodology of study of the modern picture of the world as a synergistic system 91
3.3. Aesthetic in nature 101
3.4.Sthetical in society 115
3.5.Sthetical in art 120
3.6.Virtuality and aesthetic picture of the world 133
Conclusions 139.
Conclusion 140.
Bibliographic list of references
Introduction to work
In recent decades, significant changes occur in the social and spiritual spheres of society. A dynamically developing information society recognizes the highest value of a person who has a high degree of freedom, independence and response. Changing a geopolitical situist, a change in the technological direction, the growth of communications entailed significant changes in the space of life of a modern person, first of all, in its cultural part.
The relevance of the study The aesthetic studies are increasingly turning to the problem of the formation and crash of cultural paradigms and arising from this changes in the population of society and human. The relevance of the topic of the study is due not only to the objective process of the cultural and historical movement of humanity, but also the dynamics of the plurality of man in a modern complex and unpredictable MIF. According to scientists Neurophysiologists (Metsger, Hospers) 1, in the personal formation of each person's personality, there is the ability of generally accepted aesthetic judgments, which is explained by the peculiarity of the human brain to reduce everything complex and chaotic to order and symmetry, as well as in the perceived forms to experience the so-called "joy of recognition" - Aesthetic pleasure. Therefore, all objects of the surrounding world are subordinated to aesthetic assessment, which forms the ability in humans to orderly perceive the surrounding and memorizing perceived, i.e. "A holistic vision should include aesthetic beginning." 2 This factor of aesthetic perception leads to an active search for information and significantly increases the social adaptation of a person in the surrounding world.
See: Beauty and Brain. Biological aspects of aesthetics: per. from English / Ed. I. Renchler. -M. 1993. - p.24. Nalimov V.V. In search of other meanings. - M., 1993. - p.31.
Consequently, the formation of a single holistic universal aesthetic picture of the world is a prerequisite for the existence of a person in the world.
In theoretical plan, one of the current trends is to extend, in addition to traditional classific concepts, many non-classical, sometimes anti -esthetic (from the point of view of classics) categories (absurd, cruelty, etc.) - such a polarization of aesthetic estimates of the surrounding reality requires an introduction to the category of aesthetics Universal philosophical concepts that extend all the diversity of phenomena and images of modern society, art and nature. The category of aesthetic 1 plays a big role, the development of which led to the emergence of research principles of relatives, polisia, pollipmorphs, as well as the trend of the development of aesthetics in the hypernaya, which unites philosophy, philology, art historia, culturalism, semiotics, synergies and globalism.
Such tendencies of generalization and deepening of ideological, as well as methodological foundations of knowledge are manifested in all areas of humanitarian and natural scientific thought. Thus, at the beginning of the 20th century, due to the problems of the worldview crisis in physics and philosophy 2, the concept of a universal picture of the world, who received multidimensional development in the philosophical-theoretical level. 3.
The discussion of the 1960-1970s is widely known on the problem of the essence of aesthetic, during which philosophical and aesthetic concepts were most fully justified, which included in the title of "Nationality" (N. A Dmitriev, M. F.Osyannikov, G.N. Pospelov, PV.Sobolev, Yu.V. Linnik et al.) And "socially" deployed later as an axiological theory of aesthetic values \u200b\u200b(M.S. Kagan, Dstololovich, Yu.B. Borev and others). A special place in aesthetics occupied position, in accordance with which the aesthetic is treated as expressiveness, an expressive form. This theory was developed in the works of AF. Losev and found its reflection and use in the works of V.V. Bashkova, O. Akrivzun, Yu. A Ovchinnikova and other authors.
2 in the works of O.Spengarler, L.Vitenztein, Mwebera, V.I. Vernadsky, M. Pleanka, Alenstein and others.
3 cm. Works P.V. Alekseeva, R.Avikhalhemma, V.G.Ivanova, V.N. Mikhailovsky, V.V. Kazyutinsky,
RSKapinskaya, A. Akorolkova, Akkravchenko, B.G. Kuznetsova, L. F. Kuznetsova, M. L. L. Lesgina,
M.V. Mostepanenko, V.S.Tepin, P.N. Fedoseeva, S.G.Shlyakhtenko and others. In overseas philosophy and
Science to this topic was treated by M. Bungheg, L. Yuisberger, M. Khaidheger, J. Kholton
Scientists of different sectors of sciences devoted their research to certain areas of real reality, formed a specific idea of \u200b\u200bthe other part of the world, and as a result, described special, or private, paintings in the world. It turned out that scientific theoretical knowledge is not there is a simple generalization of these experiences, but there are synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, elegance, harmonizing theoretical constructions). Scientific theory only then reflects physical reality, Einstein 1, when he possesses internal perfection. Consequently, the formation of physical, astronomical and other scientific paintings of the world are also an integrated-shaped way to cognition of reality. So in the aesthetic development of reality, all parts and properties of the phenomenon are recognized in their attitude to its whole and are comprehended through unity as a whole. Here, all the tangible features of the parts of the phenomenon and their quantitative relations act in their coented. At the phenomenon of his own measure - this is to comprehend in it the integrity in the aggregate of all properties, it means to understand aesthetically. Such an understanding may have a positive and maritime result, which is correlated with aesthetically positive and negative categories.
In practical terms, it is possible to notify that aesthetic always stimulates a person to extortively penetrate into its essence, to look for its deep meanings, and well-known aesthetic categories are like tools. The theoretical development of the scientific aesthetic picture of the world will contribute to "methodologically reliable and eurispgically saturated scientific base for the formation of sustainable and broad aesthetic censitive orientations." 2 Many researchers emphasize that the development of the painting of the world is particularly relevant
1 Einstein A. Autobiographical notes. - Satra. NUCH. Tr., T. 4., - M., 1967. - S.542.
2 Ovchinnikov Yu.a in the aesthetic picture of the world and value orientations // Value orientations
Personality, paths and ways of their formation. Abstracts of the scientific conference reports. -Petrozavodsk, 1984.-
P.73.
6 today, when the human civilization is engaged in the period of a bifurkashnyy, the slouser and the change of the cultural paradigm. It is noted that the solution of this task is impossible to ignore the aesthetic beginning of 1. Of particular importance, this problem is in the formation of the worldview of future specialists 2, the practical tasks of education in connection with reforms in this area emphasize the relevance of the chosen topic.
The relevance of the problem, the insufficiency of its theoretical development and the need to determine the status of the concept designated the topic of research: "Aesthetic picture of the world and the problem of its formation."
The degree of development of the problem
The concept of the picture of the world in philosophy was the subject of the study for representatives of various philosophical directions (dialegal materialism, the philosophy of the life, existecyalis, phenomenology, etc.). The development of this philosophical problem has shown that the overall picture of the world is not described in the framework of one special science, but each science, often claiming the creation of its special picture of the world, contributes to the formation and a certain universal picture of the world, which unites all areas of knowledge into a single system Descriptions of the surrounding reality.
The problem of the picture of the world in the works has been widely developed.
S.S.AVERINTSEV, MD Akhundova, E.D. Blyahera, Yu.Borev, V.V. Bychkov,
L.Vyisberger, E.I.Vysochina, L.Vitenthtein, V.S. Danilova,
R.A. Zobova, A.I. Kravchenko, L.F. Kuznetsova, I.Ya.Lufman, B.S. Meilaha, A.B.Mygdala, A.M. Mostepanenko, N.S. Novikova, Y. A. Ovchinnikova, Grainina, V.M. Rudneva, N.S.Skurt, V.S.S.S., M. Heidegger, J. Kholton, N.V. Hermisin, I.V. Chernshsova, O.Shpengorler.
Nalimov V.N. In search of other meanings. M., 1993. P. 31. 2 Valitskaya AP. New School of Russia: Cultuous model. Monograph. Ed. Prof.V.V. Makayev. - St. Petersburg, 2005.
The worldview has always been understood as a set of views and ideas about the MIF, where they are reflected and the aesthetic relationship of man is reality. Therefore, the concept of a picture of the world in connection with the art and aesthetic consciousness was a logically natural fact in the development of theoretical thinking. Thus, in the study of the history of aesthetic thought, the most common ideas about the world in one or another historical era were often reconstructed, which were often determined by historians as a picture of the world, inherent in the consciousness of a particular culture. Similar views in the ancient aesthetics showed A.F.Losshev, in medieval culture - A.Y.Gurevich, in the Russian aesthetics of the second half of the XVIII century - A.P.Vyschkaya. 1 At the turn of the 1970s, the 80s appears and actively discussed the concept of the artistic picture of the world 2, images and models of the world in various national cultures explore GD Gachev, paying particular importance to the works of literary creativity.
The term "Estettgic picture of the world" is used in their works of Yu.A.ovchinnikov (1984) and E.D. Blyaher (1985), 3 where a number of research tasks were raised on the problem and formulates important aspects of the new concept of aesthetics. A substantial change in the understanding of the object of aesthetics is introduced by V.V. Beschkov, determining it as a science "Oh Garmoshch Man with Universal." 1 The formulation of the problem of the Estetggic picture of the world shows that this concept is directly related to the concept of aesthetic in the aesthetics of the last century and is in a certain sense one of its most important refractions.
The second group of research literature - work dedicated to
The images of the world in the history of culture of various countries were also considered by M. Dahundov, L.M. Batkin, O. Bensh, T.P. Grigoriev, KGMMYO, V.N. Then pores and others.
2 cm. Works S. S. Averintseva, E.I.Vysochina, Yu.B. Boreva, R. Azobova and Ammostepanenko, B. Migdala,
B.S. Meilaha, NS.Churt and other authors.
3 series of essential issues related to the language, scientific and aesthetic paintings of the world considered
I.Ya.Lufman, N.S. Novikova, Greynin, N.V. Hermisin, Iv. Chernikova.
philosophical and art historical analysis of the art of different cultural
Epochs and artworks are so great that
It is difficult to imagine a simple listing. Most
Significance for this dissertation research has work
T.V.Ardorno, Aristotle, V.F.Asmus, O. Balzak, M. Bakhtina, O. Benesh,
G.Brgeson, V.V. Babykova, A.P.Valitskaya, Vergil, Voltaire, G.V.F. Gehel,
Horace, Augustugi, Aya.Gurevich, M.S. Kagapa, V.V. Kadinsky, I.Kita,
Yu.M.lotmanna, AF.Loshev, M.Mamadashvili, B.S. Meilaha,
M.F. Vysyannikova, H. Orthega-I-Gasset, Petrarki, Plato, V.S.Solovieva, V. Tatarkevich, E. Fromma, Y. Sayisenpg, V.P.Sestekova, F.Shleglev, F. Shiller, W.Ako.
The third group of sources is the latest research in the field
aesthetic innovations and synergetics of culture - work V.S. Danilova,
E.N. Knyazheva, L.V.Leskova, N.B. Mankovskaya, L.V. Morozova,
I.Prigozhіsha, I.Sh.Safarov, V.S. Dainn, L.F. Kuznetsova.
It is necessary to zoteggy that the prefimentary in this work is studied, relying on the data obtained by philosophers, cultural scientists, art historians, synergies and globalists, justifies its own vision of the issues of the aesthetic picture of the world, which was affected in the works of the _ces. A number of work contains the characteristics of the individual aspects of the concept of the picture of the world, its features and varieties, as well as the problems of its formirchpiyia into specific historical epochs. However, a number of historical and theoretical aspects of the problem remains outside of research interest.
The object of the study is the aesthetic picture of the world as a form of universal comprehension of reality.
The subject of the study is the formation of aesthetic picture of the world in theoretical and historical aspects, as well as those semantic and structural changes in the aesthetic painting of the world as the form of aesthetic knowledge of the world, which are committed in its history.
9 The purpose of the study: understanding the concept of aesthetic picture of the world as a universal aesthetic category, as a method for describing aesthetic expressiveness of the surrounding reality through the prism of the aesthetics categories.
Of the purposes of the study, the objectives of the study are followed: on the basis of the analogue of philosophical and aesthetic and scientific literature on a dishentable topic, consider the formation of the concept of aesthetic picture of the world;
consider the ratio of aesthetic painting of the world with scientificand artistic picture of the world;
implement the concept of the concept of a ztetigic picture of the world, to determine its place in aesthetic knowledge and status within the framework of the philosophical worldview and scientific knowledge;
on the material of Western European aesthetics, consider the development of the aesthetic painting of the world and identify the characteristic features of their formation at different stages of the history of culture (antiquity, the Middle Ages, Renaissance, Classicism, Enlightenment, Romanticism and Symbolism, Naturalism and Realism);
consider the specifics of the forming of the aesthetic picture of the modern world, its structural and meaningful differences from the preceding paintings of the world; establish its role in the formation of a person's ideas about the surrounding reality.
Research methodology
The dissertation uses philosophical and aesthetic, historical
theoretical, synergistic research methods. 1 in work
elements are used by comparachage-historical analysis, learning
historical ideas are combined with the study of their sociocultural
See Podzhin I. Nature, Science and New Rationality / Iprigogin // Philosophy and Life. 1991. -№7; Podzhin I., Stengar, I. Time, Chaos, Kvant. - M., 1994.
context. Sources of research are the works of philosophers and aesthetics of the XVIII - XXI centuries., Engaged in the problem of the aesthetic picture of the world; Works dedicated to theoregia and art history, global problems of the modern world, as well as works in which specific works of literature, visual, musical, multimedia art are analyzed; Ideas and images related to different epochs and their most pronounced.
The study unfolds in the following directions: the first chapter discusses the interpretation of the picture of the world and the aesthetic picture of the world in Russian and Western European philosophy and aesthetics of the XX - XXI century. Here it turns out the ratio of aesthetic and scientific paintings of the world. The second chapter discusses the patterns of historical formation of the aesthetic picture of the world of the protoneturic period, periods of classical science and postclassic science. In the third chapter, on the basis of the ideas of the formation, society, the art of modern aesthetics, the general problem of the formation of a modern aesthetic picture of the world as a model of a synergetthate system is considered.
Hypothesis: The study analyces that the aesthetic picture of the world can be a universal FNLOSO-aesthetic category (as a form of theoretical generalization) and in many aspects there are methodological and educational values. This is due to the tasks of the development of humanitarian education and the need to form a holistic worldview of a modern person. As part of this study, not only theoretical anaso is carried out, but also experimental research.
Scientific novelty of research
The scientific novelty of the study states in the analysis of the theoretical content of the new scientific concept - the "aesthetic picture of the world", in an attempt to clarify and apply to the teachings of the history of artistic culture and aesthetic thought; In the detection of characteristic features
andformation of historical paintings of the world and their continuity; In determining the specific status of the aestthastic picture of the world as a concept relating at the same time towards scientifically and alternative world-up-treatment.
For the first time in the light of the ideas of modern aesthetics and synergetics, the originality and ambiguity of the estate of the estate of the modern world is analyzed, which is due to the special conditions of its formation in the system of the systemic crisis of society and culture. At the same time, the results of the study emphasize the enormous significance of the aesthetic in the Foresfovashpi of new world, capable of creating the foundations for the exit of humanity by the hectic situat.
Scientific importance research
The main conclusions of the dissertation study suggest that the aesthetic picture of the world enters the aesthetics as one hectare of universal categories of modern science and asks a new view of its development as philosophical science. Materials and conclusions of the Dissertschi can be used in further research on philosophy, aesthetics, cultural studies, art criteracy when developing problems of historical and theoretical orientation.
Practical significance of the study
The results of the study can be used when reading the relevant sections of courses on philosophy, aesthetics, special courses for Easter Pedagogy and theorest upbringing.
The main provisions of the Dissssrtacegia, submitted to defense:
1. Active development in modern science and philosophy concepts of the picture of the world leads to the emergence of such a variety as aesthetic picture of the world. Reflecting all aesthetic diversity
reality in its integrity, the concept of the SETTICPIESKOi painting of the world performs important scientific and ideological functions.
Being closely related to the very essence of the category of aesthetic, the concept of aesthetic painting of the world reveals its crucial role in modern scientific and ideological search.
The historical formation of the centering picture of the world occurs on the basis of developing world-upsion, while aesthetic categories provide a certain stability of a general trend in the nastor_sche of ideas about the aesthetic expressiveness of the surrounding world, consisting in the desire to see the MIF harmoniously sustainable.
The main objects in the construction of aesthetic picture of the Schu are constantly nature, society and art; Starting from the XVIII century, in the formation of the estate painting of the world, the science and actual aesthetics play as independently
philosophical disshgl1sh.
5. The special role of science is manifested in the formation of modern
aesthetic picture of the world, in creating a significant place
Belongs, in particular, synergetics and globalism.
Approbation of ideas, putting on the basis of the study The main provisions and conclusions of the thesis are set out in a number of publications, and were also presented and discussed at regional conferences: "Management: History, Science, Culture" (Petrozavodsk, North-West Academy of Public Service, Karelskshche! Branch, 2004); "Control: History, Science, Culture" (Petrozavodsk, Northwest Academy of Public Service, Karelian Branch, 2005); At the International Conference "The Reality of Ethnic Sheet 2006. The role of education in the formation of ethnic and civil identity" (St. Petersburg, 2006); as well as at the annual research conferences of the Karelian State Pedagogical University. Thesis
13 the meeting of the Department of Philosophy of the KSPU was discussed and at the Department of Aesthetics of the RGPU.
The dissertation structure: The dissertation study is outlined on 158 pages of the main text. The work consists of an introduction, three chapters, each of which is divided into paragraphs, conclusions for each of the chapters, conclusion, the list of sources and literature on this topic, applications with the results of experimental research.
Specificity, structure and functions of the aesthetic picture of the world
In the most artistic picture of the world, two main components can be distinguished: conceptual (conceptual) and sensually visual. The conceptual component is represented by aesthetic categories, aesthetic principles, art historical concepts, as well as the fundamental concepts of individual arts. It is this, the conceptual component of the artistic painting of the world is part of another, wider, concepts - aesthetic picture of the world. The latitude of this concept is due primarily to the versatility of the estate of the estate of human activity of all Tisov. "From the objective side, aesthetic development consists in changing the forms of the subject" According to the laws of beauty "and in the inclusion of the transformed object, as aesthetic value, in the historic state! Culture context. From the subjective side - in the formation of aesthetic feeling, taste and other internal qualities of the aestthetic evaluation activity of a person. "You can add the fact that the aesthetic development of reality is the ush terrestrial moment of public consciousness, and therefore it can evaluate real processes in society. And unlike the aesthetic, "artistic development of action is a form of spiritual and practical activities for the production of artistic values \u200b\u200band their respective social needs." .2 and, if we consider that any activity in principle can include an element of the estate of the estate relationship, the artistic relationship is specifically and associated with specific activities. That is, in the first case: the subject is every person, and the object is real reality. In the second case: the subject is necessarily the artist, and the object is still the same real reality. Therefore, it is logical that all knowledge by the artist gives not only specific sciences, but also the everyday aesthetic practice of society.
In the aesthetic development of reality, all parts and properties of the phenomenon are recognized in their attitude to its whole and comprehend through the unity as a whole. Here, all the tangible features of the parts of the phenomenon and their quantitative relations act in its coordinent. At the phenomenon of his own measure - this is to comprehend in it the integrity in the aggregate of all properties, it means to understand aesthetically. Such a comprehension may have the provision of Primeggelnpi and the results of the result, which correlates with aesthetically positive and negative categories.
The introduction of a new concept in the categorical apparatus is justified if it meets the basic requirements for any scientific definist. Loppesks will be asked: Do I need to include in the conceptual apparatus of science "aesthetic picture of the world"?
First, the most important requirement of the categorical apparatus of science is the need to ensure that the concept itself determines the specific object, the phenomenon of material or spiritual forage. In this case, it is necessary to refer to the already known definitions of the aesthetic picture of the world.
Consider the definition proposed in 1984 by Yu.A.Ochichyikov: "The aesthetic picture of the world is the highest form of aesthetic knowledge, the picture of the whole nature, of the whole culture, all of the inexhaustible wealth of public being .1 In this definition, such a specific object is estimated in terms of philosophy . Moreover, the author complements: "The formation resources that feed the aesthetic perception of the world and the components of the Associative Fund of Spiritual Culture are formed and reproduced not only in art, in other forms of creativity, but also in journalism, criticism, sciences, lively well," .2. Consequently, The structure of the aesthetic picture of the world is formed on the basis of many sources and in the public consciousness, and in consciousness individually (depending on the cultural level of the individual, its abilities, formed worldview), and is also determined by the structure and functions of consciousness.
The ratio of aesthetic painting of the world with a scientific picture of the world
Low, ugly images and phenomena in romanticism are also aesthetic. Since the main goal of the aspirations of romantics is freedom, then "aestheticized" heroes of evil (pirates, tyranans, robbers, etc.) were performed with the greatest possibilities. Each of them played the performance and, facing the mind and feelings, worried the tragedy of destroyed illusions. On the other hand, the Romance Hero has a hope for the final victory perfect. So the main artistic method of romanticism was born - irony. "The irony appears from unsatisfied subjectivity, from subjectivity, which is always crazy and also not satisfied."
Apartments in the romantic cards of the MIFA aesthetic attitudes of a person to the world painted by bitterness of frustration from the unnecessary dream of implementing the ideal in real life. In these emotionally value relations, the artist still hopes for the final victory perfect, but it is afraid to discover this hope, which is the basis of theatrical irony. "Only an ironic attitude to everything allows the artist to rise almost to the level of God and freely soaring in spaces, with the royal carelessness, fluttering from the form to the form, from the subject to the subject, striving for a certain absolute ideal and never reaching it.". Thus, aesthetic The picture of the world of romanticism is characterized by significant subjectivism and critization of artists and their heroes in assessing the surrounding reality. In their opinion, the urban environment was low-lying and suffocating freedom, therefore, romantics elected a village as a symbol of the free lives of romance, where the natural and free self-expression of the human spirit is possible. An example of such an expression of the People's Spirit of Romantics recognized the oral folk creativity, which was studied, interpreted and presented to society. It was in the folklore of romance, carefully embellishing rustic life, saw sublime images of nature, the spirit of artist and sought them to capture them in their art. Poetry, painting, music of romantics, as a rule, directed to the unlimited spheres of the sublime. The sublime, first of all, romantics recognized the image of the creator-genius, possessing a prophetic gift. Therefore, in the aesthetic picture of the world of Romantschma, the artist is no longer servant of the emperor, king, prince, patronage, "honorable public", but "the ruler of the Dum", the Officer of Truths and the leader of mankind.
The value and value of art in the era of Romantschma Cardhagalygo changes. If in the previous paintings of the world, art glorified religion, was a moral instruction, a teaching, entertainment, now it seems like the most important region of the spiritual life of humanity. Art has become the highest way to know the world, which must open the veil of the ideal existence and convert real existence. As part of this concept of art, romance was inclined to integrate various types of artistic activities. Thinkings thought about the "imperfection" of music and poetry, which was not available to the direct transmission of colors and plastic forms, over the powerlessness of painting and sculptures to reproduce the length of being in time, over inaccessibility for all the visual arts and the literature of that powerful emotional impact, which music possesses. Therefore, they saw the synthesis of the arts, first of all, in borrowing special thermhayophops and the use of the arts of the methods of one type of art in others. Thus, romantics occurs the mixing of genres and aesthetic categories, which complicates and distorts the formed
aesthetic picture of the world to the state of nonclassicity. This categorical complexity in the picture of the world implies ambiguous relations between nature, ideal and art. In turn, the multivalousness and uncertainty of attitudes towards the world prompted many romantics to appeal to the aesthetic theory of symbolism. The symbol was considered by them as the highest and only acceptable form of artistic generalization of the personal and social being of a person.
In the study of various authors (F.shleglev, I.Guete, K. Moriza, I.G Er Dera), the symbol is specific and seemed as "merging meanings and being". F. Shelling indicates that the symbol is understood as a sensually contemplated rule for the exercise ideas. It is of interest to his assessment of the symbolism of art types: Music is allegic, painting is sketchy, and plastic is symbolic. In the poetry of the lyrics prone to the allegory, epic poetry to schematics, and drama to the symbol. Such judgments today look controversial, but in the era of romanticism, the idea of \u200b\u200ba sillying was in demand and used in the artistic practice of the synthesis of arts.
In the 20th century, many symbolic ideas of F. Schellling, F. Schelegel, I.German were rethought and embodied in expressive images of "compliance", "analogies", "nature hieroglyphs" at Sh. Bodler, P. Carllen, A. Berbo and DR . In the symbolic picture of the world, nature, any items and phenomena of life, human actions are only sensually comprehended characters expressing ideas. As in the romantic picture of the world in symbolists, art is the main way to know the world, and sources are: philosophy, tradition, religion. But in the symbolist picture of the world, art does not directly describe the object or phenomenon, but it hints thinly (the so-called Suggestion) on it, forcing the reader to complete the image in his imagination. Therefore, the symbolist language is distinguished: unusual word formation, meaningful repeats, mysterious defaults, non-evolving. Due to these special language funds, symbolistic images cause the viewer "tremble before the impurity of the work." Unlike the romantic in the symbolism cards of the world, the artist is not a central figure and the only creator of reality. The symbol itself, endowed with a large spiritual energy, creates art images and a whole universe. These artistic images of the symbolist painting of the world represent the unity of the form and content in their full equality, which, of course, eliminates the dependence of these aesthetic concepts.
Prіshtsigjymn can be the fact that the aesthetic economy of the symbolists was the cult of beauty and harmony as the main forms of the revelation of God in the world. The most convincing principles of the Sofne began in Russian art, as well as the Council of Artistic Thinking of A. Baleh, Vyach.Ivanova, A. Bloka. Interpretizing A.Bloka, you can imagine aesthetic picture of the world of symbolism as two "consecutive levels: 1) Purple-Golden level Priblzhai to face" radiant girlfriend "and 2) Blue-purple demonic dusk masks, puppets, bolav, when art turns into hell ".1 The highest point of these two levels of the picture can be called the idea of \u200b\u200btheoregia - the creation of the HSI with the help of the Divine Energy of the Symbol, the embodiment of it into real life. But at the achievement of this highest point, symbolism should have moved from art to other spheres - religion or mysticism, thus destroying the integrity and harness of creating aesthetic painting of the world.
Aesthetic picture of the world of the era of classical science
The radical change in the aesthetic consciousness of a person in the 20th century is due to the Domestic Materials, Science, Technicalism, Capitalism, Nihilism and Atheism. It was in this century that NTP occurred a global jump (active phase of bifurcation) from culture to post-culture. Therefore, to create a holistic universal description of the characteristic images, phenomena, objects of the era through the prism of aesthetic categories is not possible. This is due to several reasons.
Firstly, the Epoch itself is a "nonlinear environment" of culture, in which there is a share of the set of "becoming" structures, combined chaos (culture of avant-garde, modernism, postmodernism, postculture), and means devoid of integrity. Consequently, the entire XX century cannot be called a single cultural era.
Secondly, in the art of the 20th century, not only the spiritual principle is consciously eliminated, but also the orientation for traditional aesthetic categories and concepts: beautiful, elevated, artistic symbolism, a mimetic principle, for a shift that came: a thing, a thing, body, physicality, experience , practice, design, collage, etc.
Thirdly, nature, and the person himself, as the highest value in Christian culture, were reduced to the rank of "Machines manufactured goods" and "Machines of desire and consumption" of these goods. And the philosophical theories of Nietzsche, Freud, existentiation, structuralists, conceptualists, postmodernists recognized in the man itself a Dionissian principle, i.e. Priority of life instincts and "Mind Games". This is how F. Nietzsche wrote: "A person is no longer an artist, he himself became an artistic work; The artistic power of the whole nature opens here in the thrill of intoxication, for the highest blessed self-satisfaction of the first one. ".1
Fourth, scientific relativism, the assumption of the truth of the theoretical descriptions of the same reality differing from each other, does not imply the unity of the aesthetic system. That is why the aesthetic ideas and images of Dadaism, expressionism, futurism, surrealism, the theater of the absurdity and other artistic directions of the 20th century cannot be united into a single harmonious aesthetic system.
Therefore, it can be assumed that each artistic direction of the 20th century represented its system of aestthatgic values, its aesthetic attitude towards nature, art, society and man. In such a case, in the XX century, aesthetic "mosaic" of paintings of the world was formed, in which each bright "Smalta" portrayed his vision of the world.
At the turn of the second and third millennium of our era, humanity was on the threshold of unprecedented social upheavals. There was a new paradigm of culture: to change the culture, which awakened the creative start in man, developed his creative imagination, made it by the Creator, and contributed to the origin of the artist in him, postculture came, which kills this quality in it. Thus, it can be argued that by the beginning of the 21st century, the form of the highest aesthetic knowledge has changed significantly, the picture of the whole nature, of the whole culture, of all human existence changed. Consequently, the aesthetic picture of Schgra of modernity is characteristic of all the previously existing "options" and in its structure, and in functionality, and in importance in the spiritual and material life of a person.
Aesthetic consciousness actively participates in the russian life of society, determines the attitude of people to the work of art. Today, the spectrum of species of species of art is much expanded: cinema, television, computer products, Internet technolesale, etc. Rasparaigrovij, works of pop art, examples of Bodp art emphasize what kind of culture began to give mass production. Products of this production are illegal and suppressed by the imagination of a person, and sometimes give birth to NGA-EMSCHSH, because the unfinished crossings do not have depth, and therefore, they are not able to comply with a person to empathize and discover the endless world of perfect.
Aesthetic - regulator of the fungic creative activity of man. The modern human practices are characterized by a verse system with a wasteful way of production and consumption, with uncontrolled growth rates of economics and the population. New integral sciences - globalism and synergetics - are tested to formulate a specific answer to the question about ways to prevent the impending catastrophe. The problem of the study of global wrestling is the activity of the environmental, economic, social, demographic, climatic, and other processes of the near-surface shell of the Earth, the results of which must comply with the requirements of the sustainable (self-sufficient) development of world and regional systems of human life.
Methodology for studying the modern picture of the world as a synergistic system
Aesthetic in nature to achieve objectivity when considering such an element of a modern aesthetic picture of the world, like nature - it will be necessary to turn to its role in the surrounding reality: "Modern sciences that study the complexity of the world refute determinism: they insist that nature is creative at all levels of her Organizations.
A certain creativity of nature is also manifested in the formation of the picture of the world, since: "Nature and history are two extreme, opposite ways to spend validity in the picture of the world's picture. Reality becomes nature if all the formation is considered from the point of view of which It is a story if it became to subordinate to the formation. "2 Consequently, Spengler attributed nature to the manifestation of the story as opposed to "becoming".
In different source epochs in different authors, these conditions could have been accepted in varying degrees and differently. Basically, the estate researchers in nature paid their own view of one of two aspects: contemplative and activity. Supporters of the second aspect insist that the phenomena of nature can be the subject of aesthetic osmislesium and evaluation when the OIPI is included in the sphere of social and human activity, or become the object of their immediate employment. Of course, such a common idea of \u200b\u200bthe material development of nature, the idea of \u200b\u200bmaterial development by man already objectively implemented by the three centuries. But "Nature is such a picture of the world, in which the memory is subordinate to the totality of directly sensual" 1 and today, the researchers remember the ancient philosophers who argued and contemplation of nature as an activity fact.
With regard to the material impact of people in nature, this process is bilatelyoneg. On the one hand, humanity mercileously exterminates the phenomena of nature: cuts out the forests, kills animals, turns to reversal rivers, clones living organisms, etc. On the other hand, take care of nature: cleanses and plant forests, fertures the soil, cultivifies plants and animals. But sometimes such cultivation leads to the loss of equilibrium and harmony - hypertrophy of individual organs and functions of a living organism, an artificial substitution with its nonsense (clone). This is how the cultivating apple trees that break under the severity of their fruits look; Liver horses, similar to hippopots; cows with a bloated abomination dressed in bandage; Lyingly crushed pigs - plants and animals that have lost their natural signs are lost and positive aesthetic value, and sometimes become symbols of aesthetic anti-spannost.
But the most significant change in the aesthetics of nature in the 21st century was the crochefovanis of plants and animals, i.e. Linking to the picture of the art-ofgallic samples in the picture. Thus, an artificial fluctuation appeared, which led the state of the modern nature to the branch (bifurcation) of the ways of an extermining. This very invasion of the invasion of the MIF nature is igzmeny and its aesthetic picture, which is necessary to modulate through the PRGAMU of aesthetic categories.
Lovely in nature, the beautiful in PrioFod not only always caused a storm of feelings and emotions in the soul of a person, but most often became the object of aesthetic research in the Testa of Science: "In anyone's personal picture of the world, in one way or another approaching the perfect picture, never happens Nature without excess lives. "2 Gegel argued that "everything is fine with a kind" .3 A N.G. Chernyshevsky denied the possibility of the existence of a beautiful in nature: "Not all excellent one is fine, because not all Birth objects are beautiful. Not in all kinds of themselves, even the best of their representatives can achieve beauty. " And as examples of such animals, he led moles, amphibians, fish and some birds. But in this case we are talking about the objective features of the physiologist of these animals, and not about the aesthetic perception by their person. Staying on the perception of the object of nature, Chernyshevsky claims that "animals seem beautiful to us that resemble a person, well, and not a freak. Ugly seems all awkward, i.e. To some extent ugly. "1 Such an anthropomorphism inherent in the science of the XIX century was overcome by objective scientists of the XX century, which studied and understood the peculiarity of the biological organization and lifestyle of individual species of growing and animals. It was in the 20th century that the concept of aesthetic dignity of organisms appeared, which "the concept of beauty appeared that" is much wider. Since in those "types" and "classes", "kinds" and "species" of plants and animals, which actually cannot "achieve beauty", the best, relatively excellent representatives have aesthetic dignity. "
G.N.Pozosrelov proposed to use the following criterion for the aesthetic assessment of the object of nature: "The aesthetic assessment of a separate animal of a certain kind should be based on the understanding of the overall level of aesthetic capabilities that all this kind of animals possesses due to its launcher on the overall staircase of" evolutionary progress "with Those or Іpіngh symptoms of a "narrow specialization" or their absence. And then this estimate should consist in understanding how much relative superiority is embodies and develops this particular animal, these common features and the possibilities of a kind, to what extent its individuality differs in the corresponding generic characterity "
The successes of modern natural science are inevitably connected with the development of physical and systemic paintings of the world, which are usually presented in the form of a natural hierarchy. At the same time, human consciousness, moving towards the study of the macro- and microworld, offers more and more laws of movement, variability, relativity, on the one hand, and constancy, sustainability and proportionality - on the other.
In the XVIII century The world and the principle of the unchanged mathematical law came to change the world by replacing the world. The world and the principle of the unchanged mathematical law came to be replaced. The world with which he ruled, ceased to be only an atomistic world, where they arise, live and die in the will of an aimless case. Metamira's picture, Megamir appeared some ordered education,in which everything that happens may be predicted. Today we know the universe somewhat more, we know that the stars live and explode, and the galaxies arise and die. The modern picture of the world destroyed the barriers that separated the sky from the Earth, united and unified universe. Accordingly, attempts to understand the complex conjugation processes with global patterns inevitably lead to the need to change the research pathways, according to which science is moving, for the new scientific picture of the world with the inevitability changes the system of concepts, shifts problems, and issues arise that they are contrary to the very definitions of scientific disciplines. One way or another, the world of Aristotle, destroyed by modern physics, was equally unacceptable for all scientists.
The theory of relativity has changed the classical ideas about the objectivity and proportionality of the Universe. It became very likely that we live in the asymmetric universe, in which matter dominates the antimatter. Acceleration of ideas that modern classical physics reached its limits, dictated by the discovery of the limited classical physical concepts, which followed the possibility of understanding the world as such. When in physics, as a concept of positive knowledge includes randomness, complexity and irreversibility, we inevitably move away from the former very naive assumption about the existence of direct communication between our description of the world and the world itself.
Such a development of events was caused by unexpected additional discoveries, which have proven to the existence of universal and exceptional importance of some absolute, primarily physical, permanent (speed of light, constant plank, etc.), limiting the possibility of our impact on nature. Recall that the ideal of classical science was the "transparent" picture of the physical universe, where in each case it was assumed to indicate and the cause and its consequence. But if there is a need for a stochastic description, the causal relationship is complicated. The development of physical theory and experiment accompanied by the emergence of all new and new physical constants, with the inevitability predetermined the increase in the ability of science to find a single start in the diversity of nature phenomena. Repeating in something as agrees of ancient, modern physical theory, using subtle mathematical methods, as well as on the basis of astrophysical observations, seeks to such a qualitative description of the universe, in which there are no longer physical constants and constant values \u200b\u200bor the opening of new elementary particles, but numeric ratios between physical quantities.
The deeper the science penetrates at the microworous level in the riddles of the Universe, the more it detects the most important determining its essence is unchanged ratios and values.Not only the person himself, but the universe began to be in exceptionally and surprisingly harmonious, proportional to both in physical, as it is not enough, and in aesthetic manifestations: in the forms of stable geometric symmetries, mathematically constant and accurate processes characterizing the unity of variability and constancy . Such, for example, crystals with their symmetry of atoms or so close to the form of the circle of the orbit planets, proportions in plant forms, snowflakes or coincidence of the relations of the color of the solar spectrum or musical gamma.
Such a kind of unchanged repeated mathematical, geometric, physical and other patterns cannot fail to try to attempt to establish some generality, the correspondence between the harmonious patterns of material and energy nature and the patterns of phenomena and the categories of harmonious, beautiful, perfect in the artistic manifestations of the human spirit. It is no coincidence that, apparently, one of the prominent physicists of our time, one of the creators of quantum mechanics, the Nobel Prize winner in Physics V. Heisenberg was simply forced, according to him, "refuse" in general from the concept of an elementary particle, as at one time physicists were forced to " Throw off the concept of an objective state or the concept of universal time. As a result, in one of his works, V. Heisenberg wrote that the modern development of physics turned from the philosophy of Democritus to Plato's philosophy; "... if we are," he noted, "we will share the matter further and further, we, ultimately, come not to the smallest particles, but to mathematical objects defined by their symmetry, Platonovsky bodies and underlying them Triangles. Particles in modern physics represent mathematical abstraction of fundamental symmetry " (italics mine. - A. L.).
When establishing this amazing in nature, the conjugacy between themselves is heterogeneous, it would seem, at first glance and the patterns of the material world, the phenomena of nature there is enough reason to believe as material and physical, and aesthetic patterns can be expressed sufficiently similar to among themselves power ratios, mathematical rows and geometric proportions.In the scientific literature, attempts to find and establish certain universal objectively data of harmonic relations found in the proportions of the so-called approximate(complicated) symmetry, similar to the proportions of a number of phenomena of nature, or direction, trends in this higher and universal harmony. Currently, several basic numerical values \u200b\u200bare distinguished, which are indicators of universal symmetry. Such, for example, numbers: 2, 10, 1.37 and 137.
Moreover value 137.known in physics as a universal constant, which is one of the most interesting and to the end of the problems of this science. Many scientists of different scientific specialties wrote about this number, including the largest physicist Paul Dirac, who argued that there are several fundamental constants in nature - an electron charge (E), a permanent strap divided by 2 π (h), and light speed (C). But at the same time, from a number of these fundamental constants you can withdraw a number which does not have dimension.Based on the experimental data, it was found that this number has a value of 137 or very close to 137. Next, we are not known why it has exactly this value, and not some other. To explain this fact, various ideas were put forward, but there is no acceptable theory and so on.
However, it was found that next to the number of 1.37 main indicators of universal symmetry, the most closely associated with such a fundamental concept of aesthetics, as beauty, are numbers: \u003d 1,618 and 0.417 - "golden cross section", where the connection of numbers is 1.37, 1.618 and 0.417 is a specific part of the general principle of symmetry. Finally, the numerical principle itself establishes a numerical series and the fact that universal symmetry is nothing more than a complicated approximate symmetry, where their inverse values \u200b\u200bare the main numbers.
At one time, another laureate of the Nobel Prize - R. Feynman wrote that "we always pull us to consider symmetry as a kind of perfection. It reminds the old idea of \u200b\u200bthe Greeks on the perfection of the circles, it was even strange to imagine that the planetary orbits are not circles, but only almost circles, but between the circle and almost there are a considerable difference, but to talk about the image of thoughts, then this change is just a huge. " A conscious theoretical search for the main elements of a symmetric harmonic series was the focus of already ancient philosophers. It was here that the first deep theoretical development of aesthetic categories and terms that were laid in the future as a basis for teaching about the formation. In the period of early antiquity, the thing had a harmonic form only if he had expediency, good quality, utility. In ancient Greek philosophy, the symmetry performed in structural and value aspects - as the principle of the structure of space and as a certain positive regulatory characteristic, the image due.
Cosmos as a certain world order performed itself through beauty, symmetry, good, truth. Beautiful in Greek philosophy was considered as a certain objective beginning, inherent in space, and the space itself was the embodiment of slightness, beauty and harmony of parts. With a sufficiently discussion fact that the ancient Greeks "did not know" the most mathematical formula for the construction of the "golden section well known in aesthetics, the simplest geometric construction is given already in the" beginning of "Euclidea in the second book. In IV and V books, it is used in the construction of flat figures - the right five and ten-corrugals. Starting from XI books in sections on stereometry, the "golden cross section" is used by Euclide in the construction of spatial bodies of the right twelve and twenty-britons. The creature of this proportion was also considered in detail in the "Timee" by Plato. By themselves, two members, argued the expert of the Astronomy of Tim, cannot be well conjugate without the third, for it is necessary that a certain unifying connection is born between one and others.
It is at Plato that we find the most consistent presentation of the main aesthetic formative principles with its five ideal (excellent) geometric bodies (cube, tetrahedron, octahedron, Ikosahedron, Dodecahedron), playing an important role in the architectural and composite representations of the following epochs. Heraclit argued that hidden harmony is stronger than obvious. Plato also emphasized that "the relationships of parts to a whole and a whole to part can occur only when things are not identical and not completely different from each other." Behind these two generalizations can be seen quite real and tested by time and experience of the art. The harmony is resting to deeply hidden from the external expression.
The identity of the relationship and the identity of the commensums connect shapes other than each other. At the same time, the belonging of the various relationship is spontaneously. The main idea, which was carried out by ancient Greeks, laid methods for calculating harmoniously uniform structures, was to ensure that the quantities united by correspondence would not be too large for each other or too small. Thus, a way to create calm, equilibrium and solemn compositions, or the area of \u200b\u200bmedium relations.At the same time, the greatest extent can be achieved, claimed Plato if the middle are in the same attitude to extreme values, to the fact that more, and to the fact that less, and between them there is a proportional connection.
The Pythagoreans considered the world as a manifestation of some of the same general start, which covers the phenomena of nature, society, a person and his thinking and manifests itself in them. In accordance with this, both nature in its diversity and development and a person was considered symmetric, reflecting in the "Number" and numerical relationships as an invariant manifestation of a certain "divine mind." Apparently, it is no coincidence that it was in the School of Pythagore that not only the repeating symmetry in the numerical and geometric relations and expressions of numerical rows, but also the biological symmetry in the morphology and the location of the leaves and the branches of the plant, in the single morphological structure of many fruits, as well as invertebrate animals.
Numbers and numerical relations were understood as the beginning of the occurrence and formation of everything that has a structure as the basis of the correlative associated diversity of the world subordinate to its unity. The Pythagoreans argued that the manifestation of numbers and numerical relationships in the Universe, in man and human relations (art, culture, ethics and aesthetics) concludes some unified invariant in itself - musical and harmonic relations. And the numbers, and their relations of the Pythagoreans attached not only quantitative, but also a high-quality interpretation, which gives them the grounds to assume existence in the foundation of the world some faceless lifeand an idea of \u200b\u200bthe internal connection between nature and a person constituting a single whole.
According to historians, the idea that mathematics, mathematical orderliness was born in Pythagore's school, is a fundamental principle, with which all the multiplicity of phenomena may be justified. It was Pythagoras that made his famous discovery: vibrating strings stretched equally strongly, sounded to each other if their lengths are in simple numerical relationships. This mathematical structure, according to V. Heisenberg, namely: numeric ratios as the root cause of harmony -it was one of the stunning discoveries in the history of mankind.
since the types of musical tones express in numbers and all other things were represented by Pythagoreans simulated figures, and the numbers themselves - primary for all of nature, heaven - a set of musical tones, as well as numbers, understanding of all the richly colored diversity of phenomena was achieved in their understanding by aware of the inherent in all phenomena. unifying the principle of form expressed by the language of mathematics.In this regard, it is unconditional interest so-called Pythagorean sign, or a pentagram. The Pythagorean sign was a geometric symbol of relations characterizing this relationship not only in mathematical, but also in spatially extended and structural-spatial forms. At the same time, the sign could manifest itself in a non-measured, one-dimensional, three-dimensional (tetrahedron) and four-dimensional (hyperocytahedron) space. As a result of these features, the Pythagorean sign was considered as a constructive start of the world and above all geometric symmetry. The sign of the Pentagram was taken for the transformation of geometric symmetry transformation not only in inanimate, but also lively.
According to Pythagora, things have imitation of numbers, and therefore, the entire universe is a harmony of numbers, and only rational numbers. Thus, according to Pythagora, the number either recovered (harmony) or destroyed (disharmony). Therefore, it is not surprising that when the Irrational "destroyer" number of Pythagora was discovered -, he, by legend, brought to sacrifice the gods of 100 fat bulls and took a deep silence in his students. Thus, for the ancient Greeks, the condition of some sustainable perfection and harmony was the need for a mandatory presence of a proportional connection or, in the understanding of Plato, the consonant system.
It is these beliefs and geometric knowledge that were based on antique architecture and art. For example, when choosing the main size of the Greek church, the height and depth criterion has served its width, which was a medium-visual value between these sizes. In the same way, the relationship between the diameter of the columns and height was realized. In this case, the criterion that determines the ratio of the height of the column to the length of the colonnade was the distance between the two columns, which are medium-visual values.
Significantly later I. Kepler succeeded in the opening of new mathematical forms to summarize the data of its own observations of the orbits of the planets and for the formulation of three physical laws wearing his name. How close was the conclusions of the Kepler to the arguments of the Pythagoreans, it is possible to see from the fact that Kepler compared the appeal of the planets around the Sun with string vibrations, spoke of the harmonious consistency of various planetary orbits and "harmony of spheres". At the same time, I. Kepler talks about certain prototypes of harmony immanently inherent in all living organisms, and the ability to inherit the prototypes of harmony, which lead to recognition of forms.
Like the Pythagoreans, I. Kepler was fascinated by the attempts to search for the main harmony of the world, or, in modern language, finding some of the most common mathematical models. He saw mathematical laws and in the structure of pomegranate fruits, and in motion planets. The grains of garnet personified for him the important properties of three-dimensional geometry of tightly laid units, for in the grenade, the evolution gave place the most rational method of placement in limited space is possible more grain. Almost 400 years ago, when physics as science was only born in the writings of Galilea, I. Kepler, we recall that relate to mystics in philosophy, quite elegantly formulated, or, more precisely, discovered, the mystery of the construction of snowflakes: "Since every time, as soon as Snow starts to go, the first snowflakes have the shape of a bigful star, then it should be a very definite reason, for if it is an accident, then why there are no pentagonal or seven-angled snowflakes? "
As a certain associated with this pattern of associative retreats, we will remind you that in the I c. BC e. Mari Terentia Varon reasoned that the cells of bees appeared as the most economical wax spending model, and only in 1910, Mathematics A. TEC proposed convincing evidence that there is no way to make such a laying better than in the form of a cell hexagon. At the same time in the spirit of the Pythagorean harmony (music) of the spheres and Platonic ideas I. Kepler made efforts to build a cosmographic picture of the solar system, trying to associate the number of planets with a sphere and five Plato polytops in such a way that the spheres described near the polyhedra and inscribed in them coincided with Planet orbits. Thus, they obtained the following procedure for alternating orbits and polyhedra: Mercury - Octahedron; Venus - Ikosahedron; Earth - Dodecahedron; Mars - Tetrahedron; Jupiter - cube.
At the same time, I. Kepler was extremely displeased with the existence of figures calculated in his time in its time in cosmology and was looking for the remaining unnoticed natural patterns in the circulation of the planets. In two works - "New Astronomy" (1609) and "Harmony of the World" (about 1610) - it formulates one of the system laws of the planets - the squares of the conversion of the planet around the Sun are proportional to the Cube of the middle distance of the planet from the sun. As a consequence of this law, it turned out that the wandering of the planets against the background of "fixed", as it was considered, the stars - a peculiarity, previously not seen by astronomers, whimsically and inexplicable, follows hidden rational mathematical laws.
At the same time, a number of irrational numbers are known in the history of material and spiritual culture of man, which occupy a completely special place in the history of culture, as they express some relationships that are universal and manifested in various phenomena and processes of the physical and biological worlds. Such a widely known numerical relationship includes the number π, or "inoperative number".
One of the first who mathematically described the natural cyclic process obtained in the development of the theory of biological populations (on the example of the reproduction of rabbits), which corresponds to the approach to the "golden proportion", was Mathematics L. Fibonacci, which is still in the XIII century. Removed the first 14 numbers of a number of groups that have compiled the system of numbers (F), called it subsequently by his name. It was at the beginning of the era of the revival of the number of "golden sections" began to be called "Fibonacci numbers", and this designation has its own prehistory, repeatedly described in the literature, so we only briefly bring it in a note .
The Fibonacci row was found both in the distribution of the growing sunflower seeds on its disk, and in the distribution of leaves on the trunk and in the arrangement of the stems. Other minor leaflets framed by the sunflower disk in the process of growth of two directions curves, usually numbers 5 and 8. Next, if you consider the number of leaves located on the stem, then the leaves were located on the spiral, and there is always a sheet exactly above the bottom Sheet. At the same time, the number of leaves in the turns and the number of turns also correlated among themselves, as the adjacent number F. This is the nature of the wildlife. phyotaxis.Plant leaves are located along the stem or trunk by rising spirals so as to ensure the greatest number of light falling on them. The mathematical expression of this location is the division of the "leaf circle" in relation to the "golden section".
Subsequently, A. Durer found the pattern of "golden section" in the commensums of the human body. The perception of art forms created on the basis of this ratio caused the impression of beauty, pleasant, proportionality and harmony. In psychological terms, the perception of this proportion was created by the feeling of completeness, completeness, suspension, calm, etc. And only after the publication in 1896, A. Zeasing "Golden division as the main morphological law in nature and society", in which was undertaken A solid attempt to turn to the "golden section" as a structural, first of all - aesthetic invariant of the meter of natural harmony, in essence, the synonym for universal beauty, the principle of "golden section" was proclaimed by the "universal proportion", manifests both in art and in a living and inanimate nature.
Further, in the history of science, it was found that the "golden proportion" leads not only the relations of Fibonacci numbers and their neighboring relations, but also their various modifications, linear transformations and functional dependences, which made it possible to expand the patterns of this proportion. Moreover, it turned out that the process of arithmetic and geometric "approximation" to the "golden proportion" to account. Accordingly, it is possible to talk about the first, second, third, etc. approximations, and all of them turn out to be related to mathematical or geometric patterns of any processes or systems, and it is these approximations to the "golden division" correspond to the processes of sustainable development of almost all without exception Natural systems.
And although the problem of the "golden section", the wonderful properties of which as the proportions of medium and extreme relations tried to theoretically justify Euclide and Plato, more ancient origin, the curtain over the nature itself and the phenomenon of this wonderful proportion to date is completely not raised. Nevertheless, it became apparent that the nature itself in many of their manifestations acts on a clearly defined scheme, implements the search for optimizing the structural state of various systems not only with a genetically or sampling and error method, but also in a more complex scheme - according to the strategy of a living range of Fibonacci numbers. The "golden cross section" in the proportions of living organisms was found mainly in the commensums of the external forms of the human body.
Thus, the history of scientific knowledge associated with the "golden proportion", as already mentioned, has not one millennium. This irrational number attracts attention to itself because there are practically no areas of knowledge, where we would have found manifestations of the patterns of this mathematical relationship. The fate of this wonderful proportion is truly amazing. She not only led to the delight of the ancient scientists and the ancient thinkers, the sculptors and architectors were deliberately used. The antique thesis on the existence of uniform universal mechanisms in humans and nature has reached its highest common and theoretical heyday in the period of Russian spaceship in the works of V. V. Vernadsky, N. F. Fedorova, K. E. Tsiolkovsky, P. A. Florensky, and L. Chizhevsky, who considered man and the Universe as a single system, evolving in space and subordinate to universal principles, allowing to accurately state identity and structural principles, and metric relations.
In this regard, the fact that for the first time a similar attempt to highlight the role of "golden proportion" as a structural invariant of nature made a Russian engineer and religious philosopher P. A. Florensky (1882-1943), which in the 20s. XX century The book "At the watersheds of thought" was written, where the exceptional reflections on the "golden section" and his role at the deep levels of nature are given in one of the chapters. Of this kind of diversity of the appearances of the z natureit indicates its perfect exclusivity not only as an irrational mathematical and geometric proportion.
The role played by the "Golden section", or, in other words, dividing the lengths and spaces on average and extreme terms, in matters of aesthetics of spatial arts (painting, music, architecture) and even in outdocent phenomena - the design of organisms in nature, has long It is noted, although it cannot be said that it is detected and the final mathematical meaning and the value is certainly defined. At the same time, most modern researchers believe that the "golden section" reflects the irrationality of the processes and phenomena of nature.
As a result of its irrational properties - the inequality of the conjugate elements of the whole similarity by the Law, expresses the "golden section" measure symmetry and asymmetry.Such a completely extraordinary feature of the "golden section" allows you to build this mathematical and geometric treasure in a row invariant Essences of Harmony and Beauty in the works created not only by the Mother nature, but also by the hands of a person - in numerous works of art in the history of human culture. An additional evidence of this is the fact that the appeal to this proportion was carried out in the creation of a person. in completely different civilizations, not only geographically separated from each other, but in a temporary relation -millennies of human history (Hoeop's pyramid, etc. in Egypt, the Temple of Parfenon and others. In Greece, Baptistery in Pisa - the Renaissance, etc.).
- derivatives from among the number 1 and its doubling additive addition, give rise to two glorified in the botany additive rows.If there are numbers 1 and 2 in the source of the number of numbers there is a series of fibonacci;if in the source of the number of numbers 2 and 1, there is a row of hatch.The numeric position of this pattern is as follows: 4, 3, 7, 11, 18, 29, 47, 76 are a row of hatch; 1, 2, 3, 5, 8, 13, 21, 34, 55 are a series of fibonacci.The mathematical property of a number of fibonacci and a number of hatch, among many other amazing properties, is that the relations of two adjacent numbers in this row tend to the number of "golden section" - as it removes from the beginning of the row, this ratio corresponds to the number F with more and more accuracy. At the same time, the number F is the limit to which the relations of neighboring numbers of any additive series are striving.
art- A combination of plastic arts represented by painting, graphics and sculpture displaying reality in visual images.
Painting- A type of visual art, the works of which are created using the paints applied to the surface.
Fine art is based on the creative ability of the human hand controlled by the brain and eye, on the direct, directly visible identity of the image and object, image and depicted. This identity is perfect. It is also a product historically developed in the practical activity of a person's ability to embody the perfect image in material form, objectify it, to do any people affordable for perception.
An image carrying human subjectivity carries a generalization.
The artistic image is always a visible similarity of the ideal image that has arisen in the consciousness of a person and embodied in a certain material. Fine art is a specific path through visible to the entity, through contemplation to reflection, through a single and random to universal and natural. The image is a special way of artistic generalization, which discloses in the creation of a visible similarity of the image and the subject of the meaning of life, the ideal of the artist, carrying an accessible eye objective truth.
Painting as an art type is characterized by such features as figurative versatility, sensual specificity associated with the reflection of the entire variety of reality through directly visible images, recreation in paints on the plane.
The main means of expressive painting is color. In the history of European culture, symbolic importance was often attached: for example, black grief, red greatness or suffering, purple humility and repentance, green hope or beauty. These directions in the era of the Middle Ages developed especially brightly developed. A new understanding of color opportunities is associated with the development of abstractionism (see the theory of V. Kadinsky).
It is believed that painting is plane art. However, this statement is conditionally, since the painting of some directions in history is distinguished by the desire for volume. It is enough to recall some ideas of cubism (especially late), artists of the Renaissance (search perspective) or features of the image in ancient Egypt (the human Egyptians portrayed from different points of view, which brings painting to the volume of sculpture).
Types of painting: monumental-decorative (wall painting, plafoons, panels), machinery (paintings), scenery (theater and film), decorative painting of objects, iconography, miniature (illustration, portrait), diagram and panorama.
Means of expressiveness in painting believe: color, drawing, composition, texture, light, type of material, type of technology, today - this is also the design of the picture (i.e. its frame, a wall or where the picture is exhibited), etc.
The genres in painting are: portrait, landscape, still life, animalistic, lyrical, historical, battle, household, secular, etc.
Basic technical types: Oil, water-plaster Raw (fresco), dry (and seco), tempera, glue, wax, enamel, mosaic, stained glass, watercolor, gouache, pastel, mascara.
Graphics(Lat. I am writing) - type of visual art, based on the picture and printing of an artistic image.
Types of graphics: Stankovaya (drawing, Estamp, Lubok), Book and newspaper magazine (illustration, design), Applied (postage stamps, exjibrises) and poster.
Means of expressive graphics: contour line, barcode, line, rhythm composition, color stain, local color, color, background, smear, texture, surface of recreated items.
Sculpture(Lat. - I cut out, carving) - type of visual art, whose works have a bulk, three-dimensional shape and are performed from solid or plastic materials.
The sculpture shows a certain proximity to architecture: it as architecture is dealing with space and volume, obeys the laws of tectonics and materially by nature. But in contrast to architecture, it is not functional, but pictorial. The main specific features of sculpture are physicality, materiality, laconicism and versatility.
The materiality of the sculpture is due to the ability of a person to obey the volume. But the highest form of touching in a sculpture, which takes it to a new level of perception, becomes the ability of a person "to visually light" the form perceived through the sculpture when the eye acquires the ability to correlate the depth and bulge of different surfaces, subordinating their semantic integrity of the entire perception.
The materiality of the sculpture is manifested in concreteness of the material that, circumsomed artistic form, ceases to be an objective reality for a person and becomes the material carrier of an artistic idea.
Sculpture is the art of the transformation of space by means of volume. Each culture brings its understanding of the ratio of volume and space: antiquity understands the volume of the body as a location in space, the Middle Ages - the space as the surreal world, the Baroque era - space as an environment captured by the sculptural volume and conquered by them, classicism is equilibrium of space and volume and form. The XIX century allowed the space to "enter" into the world of sculpture, giving the volume in space in space, and the XX century continuing this process, made a sculpture to mobile and passable for space.
The conciseness of the sculpture is related to the fact that it is practically devoid of stories and narration. Therefore, it can be called an expressive abstract in a specific one. Easy perception of sculpture is only a surface cage. The sculpture is symbolic, conditional and artistic, and therefore difficult and depth for his perception.
The world of sculptures is represented by a large variety of species and genres:
small plastic (ancient glyptics - thread on semi-precious minerals; bone carving; figurines from different materials, amulets and talismans; medals.);
sculpture of small forms (chamber figurines up to half a meter of genre themes, intended for interiors and calculated on the chamber of perception);
stankovaya sculpture (a statue intended for circular ferris, close to the nature of the real size of the human body, autonomous and not requiring communication with a specific interior);
monumental-decorative sculpture (reliefs, friezes on the walls, statues on the frontions, Atlanta and Caryatids, works intended for parks and squares, decoration of fountains, etc.),
monumental (tombstones, monuments, monuments).
The most popular genre in sculpture is a portrait. The development of the portrait genre in the sculpture is practically in parallel with the ideas about the role of a person in history. Depending on this understanding, the portrait becomes more realistic, idealized. The forms of the portrait in the history were a variety of: Mummy Masks, Grac (four-metered pillar with a portrait head) in the Greeks, Roman bust. The portrait began to be divided into destination: the parade and chamber.
An animal genre develops in sculpture even earlier than a portrait. But it receives this development with the collapse of the anthropocentric ideas about the world and awareness of a single materiality of the world.
A special place in sculpture receives a fragment genre - individual parts of the human body. The sculptural fragment arises on the basis of collecting fragments of antique statues and develops as an independent phenomenon with new artistic and aesthetic capabilities to express the content in which there is no specified plot, and there is only a plastic motive. The ancestor of this genre is considered to be ashen.
The historic genre is associated with a reflection of specific historical events and a story about their participants. Most often, this genre implements itself in monumental forms.
Means of expressive sculptures: Building a bulk form, plastic modeling, silhouette development, texture, material, light, sometimes color.
The aesthetics of the visual art lies in the possibility of visualization of perfection. It was in visualization that a sense of beauty was a sense. At the heart of the visual perception by a beauty man lies its ability to relate directly perceived with the previous idea of \u200b\u200bperfection. Aesthetic image experience as no other is filled with a variety.
Full text of the dissertation abstract on the topic "The aesthetic picture of the world and the problem of its formation"
For manuscript of UDC 18
Suvorova Irina Mikhailovna
Aesthetic picture of the world and the problems of its formation
St. Petersburg 2006
The work performed at the Department of Philosophy
GOU VPO "Karelian State Pedagogical University"
SCIENTIFIC DIRECTOR-
candidate of Philosophical Sciences, Associate Professor Ovchinnikov Yuri Aleksandrovich
Official opponents:
doctor of philosophical science,
professor Prosersky Vadim.
VIKTOROVICH
candidate of Philosophical Sciences
Surin Dmitry.
Valerevich
Leading organization - GOU VPO "Petrozavodsky
state University"
The defense will be held "29" June 2006 in - "Sh £." Hours at the meeting of the dissertation council D.212.199.10 to protect dissertations for the degree of Doctor of Philosophy in the Russian State Pedagogical University. A.I. Herzen at: 197046 , St. Petersburg, ul. Small Posadskaya, d. 26, Aud.317.
The dissertation can be found in the fundamental library of the Russian State Pedagogical University. A.I.Getzen
Scientific Secretary of the Dissertation Council, Candidate of Philosophy, Associate Professor
A.Yu.dorsky
GENERAL DESCRIPTION OF WORK
The dissertation study is devoted to the philosophical and aesthetic understanding of the aesthetic picture of the world as a universal category of aesthetics.
The relevance of the study is due to the problem of the formation and crash of cultural paradigms and arising from this changes in the aesthetic consciousness of society and man in the modern world. In recent decades, significant changes occur in the social and spiritual spheres of society. A dynamically developing information society recognizes the highest value of a person who has a high degree of freedom, independence and responsibility. Changing the geopolitical situation, changing the technological direction, the growth of communications entailed significant changes in the space of life of a modern person, primarily in its cultural part. The relevance of the topic of the study is due not only to the objective process of the cultural and historical movement of humanity, but also the dynamics of the personality of a person in a modern complex and unpredictable world. According to neurophysiologist scientists (Metsger, Hospers) 1, in the personal formation of each person there is the ability of generally accepted aesthetic judgments, which is explained by the peculiarity of the human brain to reduce all the complex and chaotic to order and symmetry, as well as in the perceived forms to experience the so-called "joy of recognition", Get aesthetic pleasure. Therefore, all objects of the surrounding world are subordinated to aesthetic assessment, which forms the ability in humans to orderly perceive the surrounding and memorizing perceived, i.e. "A holistic vision should include aesthetic beginning. "2 This factor of aesthetic perception leads to an active search for information and significantly increases the social adaptation of a person in the environment. Consequently, the formation of a single holistic universal aesthetic picture of the world is a prerequisite for the existence of a person in the world.
In theoretical terms, one of the current trends is extension, in addition to traditional classical concepts, many non-classical, sometimes anti-esthetic (from the point of view of classics) categories (absurd, cruelty, etc.). Such polarization of aesthetic estimates of the surrounding reality, expressing a new vision of the world, requires introduction to the categorical acetics of universal philosophical concepts, uniting all the diversity of phenomena and images of modern society, art and nature. The category of aesthetic, the development of which led to the appearance of research principles of relatives, polulmorphy, as well as the trend of developing aesthetics in the hypernaya, which unites philosophy, philology, art and culturalism, semiotics, synergies, and globalism, and globalism, has been playing.
Such tendencies of generalization and deepening of ideological, as well as methodological foundations of knowledge are manifested in all areas of humanitarian and natural scientific thought. So, at the beginning of the 20th century, due to the problems of the ideological crisis in physics and philosophy, the concept of a universal painting of the world3 is beginning to develop, which has further developed a multidimensional development in the philosophical-theoretical level.
Scientists of different sectors of sciences devoted their research to certain areas of real reality, formed a specific idea of \u200b\u200bthe other part of the world, and as a result, described special, or private, paintings in the world. It turned out that scientific theoretical knowledge is not there is a simple generalization of these experiences, but there are synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, grace, harmony of theoretical constructions). Scientific theory only reflects physical reality, considered Einstein5 when he possesses internal perfection. Consequently, in the formation of physical, astronomical and other scientific paintings of the world there are also an emotionally-shaped way to know reality. So in the aesthetic development of reality, all parts and properties of the phenomenon are recognized in their attitude to its whole and are comprehended through unity as a whole. Here, all the tangible features of the parts of the phenomenon and their quantitative relations act in their coented. At the phenomenon of his own measure - this is to comprehend in it the integrity in the aggregate of all properties, it means to understand aesthetically. Such an understanding may have a positive and negative result, which is correlated with aesthetically positive and negative categories.
In practical terms, it can be noted that the aesthetic always stimulates a person to make extremely to penetrate into its essence, to look for its deep meanings, and well-known aesthetic categories are as a toolkit. The theoretical development of the scientific aesthetic picture of the world will contribute to the "methodologically reliable and euristically saturated scientific base for the formation of sustainable and wide aesthetic value, orientations." Many researchers emphasize that the development of the picture of the world is particularly relevant today when the human civilization has entered the period of a bifurcation slider and the change of cultural paradigm. It is noted that the solution to this problem is impossible not attention to the aesthetic beginning7. This problem is of particular importance in the formation of the worldview of future specialists8, the practical tasks of education in connection with reforms in this area emphasize the relevance of the chosen topic.
The relevance of the problem, the insufficiency of its theoretical development and the need to determine the status of the concept designated the topic of research: "Aesthetic picture of the world and the problem of its formation."
The degree of development of the problem
The concept of painting in the world in philosophy was the subject of research for representatives of various philosophical directions (dialectical materialism, philosophy of life, existentialism, phenomenology, etc.). The development of this philosophical problem has shown that the overall picture of the world is not described in the framework of one special science, but each science, often claiming the creation of its special picture of the world, contributes to the formation and a certain universal picture of the world, which unites all areas of knowledge into a single system Descriptions of the surrounding reality.
The problem of the picture of the world in the works of SSAVERintsev, MD Akhundov, E.D. Blyahera, Yu.Borev, V.V. Bychkova, L.Väisberger, E.I.Vysochina, L.Vitenthenstein, V.S. Danilova, R.A. Zobova, A.I. Kravchenko, L.F. Kuznetsova, Il.Luffman, B.S. Meilaha, A.B.Mygdala,
A. Mostepanenko, N.S. Novikova, Yu.A.Ochinnikova, Engine,
B.M. Rudneva, N.S.Skurt, V.S. Stainin, M. Heidegger, J. Kholton, N.V. Hermisina, I.V. Chernova, O.Spengorler.
The worldview has always been understood as a totality of views and ideas about the world, where the aesthetic relationship of man is reflected in reality. Therefore, the concept of a picture of the world in connection with the art and aesthetic consciousness was a logically natural fact in the development of theoretical thinking. Thus, in the study of the history of aesthetic thought, the most common ideas about the world in one or another historical era were often reconstructed, which were often determined by historians as a picture of the world, inherent in the consciousness of a particular culture. Similar ideas in the ancient aesthetics showed A.Flatov, in the medieval culture - A.Y.Gurevich, in the Russian aesthetics of the second half of the 18th century - A.P.Valitskaya.9 At the turn of the 1970s, the concept of the artistic picture appears and actively discusses Mira 10, images and models of the world in various national cultures explore GD Gachev, paying particular importance to works by literary creativity.
The term "aesthetic picture of the world" is used in their works of Yu.A.ovchinnikov (1984) and E.D. Blyahher (1985), 11. Where a number of research tasks have been raised on the problem and formulate important aspects of the new concept of aesthetics. V.V. Beschkov is a significant change in the understanding of the object of aesthetics, determining it as a science "On the harmony of a man with a universal" .12 The formulation of the problem of aesthetic picture of the world shows that this concept is directly related to the concept of aesthetic and is in the famous aesthetics of the last century The sense is one of its most important refractions.
The second group of research literature - work devoted to the philosophical and art historical analysis of the art of different cultural eras and artistic works is so great that it is difficult
submit to simply transfer names. The greatest significance for this dissertation study has works that T.V. E. Balzak, M. Bakhtina, O. Banesha, M. Bakhtina, O. Benesha, Berges, V.V. Bsychkova, A.P.Valitskaya, Vergilia, Voltaire, G.V.F. Gegel, Horace, A.V.Guli, Al. Gurevich, M.S. Kagan, V.V. Kadinsky, I.Kanta, Y. Mlotman, A.F.Loshev, M.Mamardashvili, B.S. Meilaha, M.F. Vysyannikova, H. Ortega-I-Gasset, Petrarki, Plato, V.S. Solovieva, V. Tatarkevich, E.Fromma, Y. Sayisengi, V.P. Shestakova, F.Shleglev, F. Shiller, W.Ako.
The third group of sources is the latest research in the field of aesthetic innovations and synergetics of culture - work V.S. Danilova, E.N. Knyazheva, L.V.Leskova, N. B. Mankovskaya, L.V. Morozova, I. Rygogin, and .Sh.Safarov, V.S. Depina, L.F. Kuznetsova.
It should be noted that the study undertaken in this work, relying on the data obtained by philosophers, cultural scientists, art historians, synergies and globalists, justifies its own vision of the problems of the aesthetic picture of the world, which was affected in the work of the predecessors. A number of work contains the characteristics of the individual aspects of the concept of the picture of the world, its features and varieties, as well as the problems of its formation into specific historical epochs. However, a number of historical and theoretical aspects of the problem remains outside of research interest.
Object research: aesthetic picture of the world as a form of universal comprehension of reality.
Research Subject: Formation of aesthetic picture of the world in theoretical and historical aspects, as well as those semantic and structural changes in the aesthetic picture of the world as the form of aesthetic knowledge of the world, which are committed in its history.
The purpose of the study: understanding the concept of aesthetic picture of the world as a universal aesthetic category, as a method for describing the aesthetic expressiveness of the surrounding reality through the prism of the aesthetics categories.
Hypothesis: The study examines that the aesthetic picture of the world can be a universal philosophical and aesthetic category (as a form of theoretical generalization) and in many aspects have a methodological and educational value. This is due to the tasks of the development of humanitarian education and the need to form a holistic worldview of a modern person. As part of this study, not only theoretical analysis is carried out, but also experimental study of the issue.
Research tasks:
The study sets itself in the following tasks: based on the analysis of philosophical and aesthetic and scientific literature on the topic studied to consider the formation of the concept of aesthetic picture of the world;
consider the ratio of aesthetic painting of the world with a scientific and artistic picture of the world;
carry out an analysis of the concept of aesthetic picture of the world, determine its place in aesthetic knowledge and status within the framework of the philosophical worldview and scientific knowledge;
on the material of Western European aesthetics, consider the development of the aesthetic painting of the world and identify the characteristic features of their formation at different stages of the history of culture (antiquity, the Middle Ages, Renaissance, Classicism, Enlightenment, Romanticism and Symbolism, Naturalism and Realism);
Consider the specifics of the formation of aesthetic picture of the modern world, its structural and meaningful differences from the preceding paintings of the world; establish its role in the formation of a person's ideas about the surrounding reality.
The study methodology in the dissertation is used by philosophical and aesthetic, historical and theoretical, synergistic research methods. 13 In the paper, elements of comparative historical analysis are used, the study of historical ideas is combined with the study of their sociocultural context. Sources of research are the works of philosophers and aesthetics of the XVIII - XXI centuries., Engaged in the problem of the aesthetic picture of the world; work devoted to theory and history of art, global problems of the modern world, as well as work in which specific works of literature, visual, musical, multimedia art are analyzed; Ideas and images related to different epochs and their most pronounced.
Scientific novelty of research The scientific novelty of the study is to analyze the theoretical content of the new scientific concept - the "aesthetic picture of the world", in an attempt to clarify and apply to the study of the history of artistic culture and aesthetic thought; in the detection of the characteristic features of the formation of historical paintings of the world and their continuity; In determining the specific status of the aesthetic picture of the world as a concept relating to scientifically related to scientific and to alternative world.
For the first time in the light of the ideas of modern aesthetics and synergetics, the originality and ambiguity of the aesthetic picture of the modern world is analyzed, which is due to the special conditions for its formation in the conditions of the systemic crisis of society and culture. At the same time, the results of the study emphasize the enormous importance of aesthetic in the formation of a new world, capable of creating the foundations for the exit of humanity from a deadlock situation.
Theoretical significance of the study
The main conclusions of the dissertation study make it possible to assert that the aesthetic picture of the world enters the aesthetics as one of the universal categories of modern science and asks the new perspective of its development as philosophical science. Materials and conclusions of the thesis can be used in further research on philosophy, aesthetics, cultural studies, artistic in the development of problems of historical and theoretical orientation.
Practical significance of the study
The results of the study can be used when reading the relevant sections of courses on philosophy, aesthetics, special courses on the history of pedagogy and the theory of upbringing.
The main provisions of the dissertation endowed with the defense:
1. Active development in modern science and philosophy concepts of the picture of the world leads to the emergence of such a variety as aesthetic picture of the world. Reflecting all aesthetic diversity of reality in its integrity, the concept of aesthetic picture of the world performs important scientific and ideological functions.
2. Being closely connected with the very essence of the aesthetic category, the concept of aesthetic picture of the world reveals its crucial role in a modern scientific and ideological search.
3. The historical formation of the aesthetic picture of the world occurs on the basis of developing world growth, while the aesthetic categories provide a certain stability of a general trend in the history of ideas about the aesthetic expressiveness of the surrounding world, consisting in the desire to see the world harmoniously stable.
4. The main objects in the construction of aesthetic picture of the world are constantly nature, society and art; Starting from the XVIII century, in the formation of aesthetic picture of the world, the science and actually aesthetics play as an independent philosophical discipline.
5. The special role of science is manifested in the formation of a modern aesthetic picture of the world, in the creation of which a significant place belongs to, in particular, synergetics and globalism.
Approbation of ideas based on the basis of the main provisions and conclusions of the thesis are set out in a number of publications, and were also presented and discussed at regional conferences: "Management: History, Science, Culture" (Petrozavodsk, Northwest Academy of Public Service, Karelian branch, 2004); "Control: History, Science, Culture" (Petrozavodsk, North-West
academy of Public Service, Karelian Branch, 2005); At the International Conference "The Reality of Ethnic Sheet 2006. The role of education in the formation of ethnic and civil identity" (St. Petersburg, 2006); as well as at the annual research conferences of the Karelian State Pedagogical University. The thesis was discussed by a meeting of the Department of Philosophy of the KGPU and at the Department of Aesthetics of the RGPU.
The dissertation structure: The dissertation study is outlined on 158 pages of the main text. The work consists of an introduction, three chapters, each of which is divided into paragraphs, conclusions for each of the chapters, conclusion, the list of sources and literature on this topic, applications with the results of experimental research.
In the introduction, the relevance of the topic is justified, the object, the subject, purpose, tasks, and research methods is determined, the hypothesis is formulated, the stages of the dissertation study are revealed.
In the first chapter, the "aesthetic picture of the world in the system of philosophical worldview" was characterized by diverse aspects of the problem, the most significant issues were allocated to determine the initial theoretical provisions. In particular, the possibility of determining the concept of aesthetic picture of the world within the framework of a philosophical and aesthetic worldview is considered. The prehistory of the occurrence of this concept on the basis of domestic and foreign sources is studied in detail in detail, and attention is focused on the special status of the aesthetic picture of the world.
The theoretical basis of the study of steel works, determining the concept of painting in the world (S.S. Averintsev, MD Akhundov, L.Vyisberger, E.I.Vyschina, L.Vitgen Shechtein, V.S. Danilova, A.I. Kravchenko, L .F. Kuznetsova, I.Ya.Loyfman, B.S. Meilah, A.B.Mygdal, N.S. Novikova, Grain, V.M. Rudnev, N.S.Skurt, V.S.Stainin , M. Heidegger, J. Kholton, N.V. Hermisin, I.V. Chernikova, O.Shpengler); Considering significant problems associated with the aesthetic picture of the world (E.D. Blyahher, V.V. Bychkov, Yu.Borev, R.A. Zobov, A.M. Mostepanenko, Yu.A.Ochinnikov). The works of these authors contain the characteristics of the individual aspects of the concept of aesthetic picture of the world and the problems of its formation into specific historical epochs.
Humanity has developed two ways to know the reality - the logical and conceptual and emotional-shaped, which in the historical path of their development diverse interacted and found their complete incarnation, respectively, in science and art. If we consider that the first generalized idea of \u200b\u200bthe world appeared in artistic form, as a sensual practical, and this type of presentation remains at all stages of human knowledge development, it can be assumed that at first there was a syncretic, figurative-sensual form of knowledge of reality, and therefore historically artistic The picture of the world is ancient scientific.
The study considers the concept of the artistic picture of the world, under which the holistic system should be understood. Artistic and shaped ideas about the real validity established by artistic practice. It develops "Based on the aggregate of art, genre and even one highly artistic work. "14 In this context, B.Syilakh notes:" The artistic picture of the world is formed on the basis of the perception of many sources: works of literature, painting, music, cinema, theater, theater, as well as under the influence of art historical research, critical work, thematic gear of radio and television, - in one word, from the set of information, impressions, directly or indirectly related to art. "15
The dissertation revealed that in the history of art development, there was a change of artistic paintings, depending on the changes in the ideas about the person, the discovery and mastering of new reality reservoirs, from the emergence of a new socio-psychological type of artist and, depending on what knowledge was the dominant. And yet, the authors listed above agree that the artistic picture of the world as a systematized panoramic view is created from those types of art, works of those artists who have achieved full maturity, classical forms, whose creativity is an era. It means that it is not a mechanical summing of all the works of all types of art of this historic era, but a dialectic alloy of mature works of the most significant artists. In the most artistic picture of the world, two main components can be distinguished: conceptual (conceptual) and sensually visual.
The conceptual component is represented by aesthetic categories, aesthetic principles, art historical concepts, as well as the fundamental concepts of individual arts. It is this, the conceptual component of the artistic painting of the world is part of another, wider, concepts - aesthetic picture of the world. The latitude of this concept is primarily due to the versatility of the aesthetic perception of all types of human activity.
The study of the concept of aesthetic picture of the world made it possible to determine its component elements that determine its specificity and functionality.
On the basis of accumulated knowledge, people create ideas about the world, both at the level of individual consciousness, and at the social level, and the task of knowledge of the world - to express in full purity the language of the form of the world, which is designed in advance for the existence of a person himself.
Analysis and synthesis of the results of theoretical studies on the problem of the formation of the picture of the world allowed us to apply the philosophical and aesthetic method, as a result of which it turned out that the aesthetic picture of the world, combining the logical and conceptual and emotional-shaped start of knowledge, in
the strength of the specified features has no analogues. It is a universal picture of the world (at the philosophy level), covering aspects of physical, mathematical, astronomical, linguistic paintings of the world, which do not coincide and do not "impose" each other. The considered relationship of scientific and aesthetic paintings of the world made it possible to find out the specifics of the status of the aesthetic picture of the world.
In the logical and methodological aspect, the scientific picture of the world is a system of thinking, a methodological scheme for analyzing the object, a kind of matrix of scientific creativity, the basis of continuity in the development of scientific knowledge. Consequently, the aesthetic picture of the world can be considered as a form of theoretical knowledge that represents the subject of the study, respectively, a certain historical stage of the development of science, the form through which the specific knowledge of the objects of the world is integrated and systematized (in this case - aesthetic categories, concepts, relationship). On this factor, the aesthetic picture of the world can be attributed to one of the special. But according to the classification of the American scientist J. Kholton, the aesthetic picture of the world can be recognized as an alternative, in which the symmetry of themes and antimaton (the categories are beautiful and ugly, tragic and comic, elevated and low-lying), which occupy a similar structural place and perform the same function As the topics of her opponent. Other characteristics are also in favor of such status: a sensual-specific form of knowledge, a unique and partial nature of the results, a significant role of authority. Therefore, it is obvious that the aesthetic picture of the world, which has an emotionally-shaped method of knowledge of reality, can be recognized as an alternative picture of the world. Thus, the aesthetic picture of the world has features and scientific, and alternative paintings of the world, distant from the exact results of the applied sciences, but close to the philosophical laws of knowledge of the world.
Among the many philosophical definitions of the painting of the world are sometimes found in one synonymous series "The image of the world", "ideas about the world", "Model of the World", "Silhouette of the World", which makes it very difficult for the logic of presenting the problem. The study has proven that the concept of the "image of the world" is wider than the concept of "presentation of the world", and in the aggregate they constitute a single concept - "picture of the world." It should be noted that the concept of the "image of the world", in contrast to the concept of "picture of the world", metaphorically and multi-valued, which makes it difficult to use it. In this regard, it can be assumed that the picture of the world is a fundamentally comprehensive, consistently connected in a single system. Only under these conditions the concept of "picture of the world" acts as a universal category, reflecting those ideas about the world, which are conscious of people on the basis of all knowledge achieved,
all levels in all forms of development of the world throughout all stages of human development. As a result of the generalization, it was found out that:
a) structural elements of the aesthetic painting of the world are microdisals and macro-formations of nature, society and art;
b) The aesthetic picture of the world carries out a number of functions:
Systematizing, distributes phenomena and images to the system of aesthetic categories;
Cognitive, represents a universal knowledge system for the aesthetic development of reality;
Research, identifies the aesthetic significance of certain ideas and submissions of this era; determines the most expressive images and phenomena;
Analytical, establishes the continuity and interdependence of aesthetic views and the reasons for their shift; Analyzes aesthetic fluctuations in nature, society and art and predicts the further bifurcation path to the attractor.
In the theoretical analysis of the aesthetic picture of the world, three large stages were allocated: the picture of the world of dynamic science, or protontaucas, disciplinary organized classic science and the modern post-classical scientific picture of the world. Each of these stages has its own specifics, which was in the process of historical analysis.
In the second chapter of the thesis "The regularities of the historical formation and development of aesthetic painting of the world," based on theoretical provisions, the basic patterns of the formation of the aesthetic picture of the world were revealed at different historical stages of human development, as well as in the context of different reality layers.
The chapter presents the results of changing the interpretation of aesthetic values \u200b\u200bin the overall picture of the world, the content of aesthetic categories, and the priority of these categories.
An analysis of the patterns of the formation and development of the aesthetic picture of the world of the proton era of the period of antiquity revealed a description of the surrounding reality from the point of view of aesthetic categories, which was not carried out in aesthetic theory, but in artistic practice, philosophy, rhetoric, ecphrasis and other sciences. It was at this stage that the aesthetic picture of the world was formed as an emotionally-shaped description of expressive objects and phenomena combined into a universal system of knowledge of the world.
An analysis of the aesthetic picture of the world of Western Middle Ages revealed a holistic system of expressive images, phenomena in art, society, nature, united by one idea of \u200b\u200bChristian. It was Christianity as a world religion that reserved its crucial importance to the development of aesthetic thought of the Middle Ages. Also, as in the time of antiquity, aesthetics had the status of implicit, but unlike antiquity, the main aesthetic ideas
A description of the aesthetic picture of the world of Renaissance has absorbed expressive images, ideas, ideas that were developed throughout the previous eras: imitation of nature (revered by the Savonarol) and the imitation of antiquity (revered by Petrarch), which merged on the basis of the fact that the classical art itself was correct Nature. The worldview of the Renaissance person entered the idea of \u200b\u200bnovelty and enjoyment with the new force, but mainly the idea of \u200b\u200bthe exaltation of a person surrounded by aesthetically understood by being.
The historical and aesthetic analysis revealed that in general, the aesthetic picture of the world of the proton era describes society, nature and art, to more on the basis of the emotional and sensual knowledge of reality. Therefore, the next logical stage of its formation was theoretical and conceptual level, involving the status of scientific relations and relationship with other special paintings of the world.
The next stage of the study was the analysis of the aesthetic picture of the world of the era of classical science, which showed that the XVII century became the phase of the formation of a new spatial-temporal picture of the world, and therefore the new aesthetic picture of the world. Compared to the previous epoch, the transfer of the accent from the image of a person to the image of its connections with the medium is clearly noticeable. The medium itself is seen in this aesthetic picture of the world in all its diversity. The definition of action is replaced by a plurality of ambiguous reactions to it, through action. And the interpenetration of man and nature is saturated with an aesthetic picture of the world with emotions with a certain personal attitude. In the course of the study, it turned out that the aesthetic picture of the world of enlightenment could be recognized by quite scientific on the following signs: the intellectual-theoretical level of generalization, the abstract nature of the results, cosmopolitanism. Thus, the aesthetic picture of the world of enlightenment, combining the sensual-specific and theoretical form of knowledge; The unit and universal nature of the results, a significant role of authoritative and objectivism of opinions, claims to the role of a special form of knowledge. Having features and scientific, and alternative paintings of the world, the aesthetic picture of the world of classical science is an integral part of the general scientific (at the level of philosophy) paintings of the world.
As a result of the study of the aesthetic painting of the world of realism, a fundamental difference from the previously described was revealed is the fact of its coincidence with the model of the world existing at that time. This pattern arose "thanks to" bringing realists to the logical completion of the mimetic principle - the display of reality in its forms.
Expressive images and phenomena of this picture look are isomorphic (similar in appearance) photocopies of world objects, which are imprinted in positive and negative manifestations. Such
the feature of the aesthetic picture of the world of realism is explained by the philosophical and theoretical teachings of this period. In the realistic picture of the world, the society occupied a dominant position in relation to a separate person, including the artist. Undoubted the laws of nature, society with the help of ideology really subordinated to its needs, as well as art made its "servant" without the right to choose. "Typical characters in typical circumstances" made this aesthetic picture of the world monotonous black and white, devoid of compromises. This, in turn, unified the aesthetic consciousness of people to the "consumption of understandable and simple art" of the masquence, which indicates a radical change of not only human consciousness, but also his paintings of the world.
The historical analysis of the formation of aesthetic picture of the world revealed the tendency of continuity in determining the aesthetic expressiveness of objects and phenomena of reality, as well as the gradual expansion of the spectrum of aesthetic assessment of the world (the emergence of the category of aesthetic taste, romantic, etc.). The latter factor received its further development in the postclassical period, which is devoted to the next chapter of the study.
In the third chapter of the study "Aesthetics and the picture of the world of postclassical period", radical changes in the aesthetic consciousness of a person in the 20th century, which is due to the dominance of materialism, science, technicalism, capitalism, nihilism and atheism. The paradigm of aesthetics of the modern time, which made specific additions to the awareness of the significance of aesthetics and the essence of beauty are considered. Aspects of the newest aesthetic paradigm in the study proposed aesthetic algorithm of the noosphere and ecological aesthetics. The paradigm shift in science has determined the transition from objectivist science to an epistemic (dialogic), based on interdisciplinary knowledge. Therefore, the aspects of the interaction of different sciences are considered increasingly in the works of scientists. In the science itself, trends showed that the need for the creation of a holistic picture of the world. This is evidenced by the systemic approach, the idea of \u200b\u200bglobal evolutionism, the idea of \u200b\u200bsynchronism, anthropic principle, a synergistic paradigm, which includes a person in the picture of the world.
A description of the aesthetic painting of the world of modernity in this study is based on the use of a synergistic approach, as a peer of postclacial. The expediency of using a synergistic approach is substantiated by the presentation of the picture of the world as a self-developing system with its multidimensionality, covering all factors of influence on the dynamics of the picture itself.
Secondly, synergistic modeling made it possible to activate the ethical side of reality. And if classic science determines
freedom as a conscious need, then sociosinterghetics - as the possibility of choosing among possible alternatives and responsibility for this choice.
Thirdly, the design of the aesthetic picture of the modern world is constructed taking into account the bifurcation nature of the culture itself, which is manifested in alternation and consistent complication of development cycles. A fundamentally important task of the study was the search for the point of bifurcation (branching system of the system) of the modern aesthetic painting of the world.
Fourth, the principle of sustainable non-equilibrium (the so-called attractor) was important, which sustained the sufficient level of the diversity of the system structural elements, for example, national cultures, as the necessary condition for the stability of the system itself.
Fifth, the principle of the structural role of chaos is used as a factor of the spread and a variety of elements of structural subsystems, which, when changing conditions, can lead to the detection of new promising solutions. In this study, a number of different fluctuations (random deviations) are taken into account that affect the aesthetic picture of the world. This factor of influence on the aesthetic picture of the world was discovered by Oswald Spengler at the beginning of the 20th century, called fate: "... The idea of \u200b\u200bfate, carrying the goal and the future, turns into a mechanical-extended principle of cause and actions, the center of severity of which lies in the past. Artistic contemplation, intuition, has the need for fate. ".15 Spengler noted that in the slender aesthetic theories of Kant and Hegel there was no place for studying the influence of the case and fate on the culture of mankind, although" internally guess for such an influence. " 17 Today, after a hundred years it can be argued that Speengler was a genius ingenious, and his "idea of \u200b\u200bfate" in the "Sunset of Europe" is identical in the synergetic idea of \u200b\u200bI. Rygogin about "order through fluctuation". From the point of view of synergetics - "The elements of chaos, beauty and harmony asymmetric" .18 may be numerous fluctuations in modern world society, nature, culture, art, creating analogue with synergetic dissipative (less organized and chaotic) systems in Ultimately I will give a certain sustainability and organization (attractor)? Thus, through the aesthetics categories in the modern aesthetic picture of the world, it is possible to describe the new function of "Spengler's fate" - bring chaotic to the object and the phenomenon to achieve the final relative order. "Divipation is quenched, destroys," burns out "all the" extra "vortex flows and leaves only those that form the structure. Chaos, oddly enough, constructive in its most destructiveness. He builds a structure, removing everything too much. ".19 Therefore, contrary to the everyday intuitive feeling, modern instability in the world is not an annoying trouble, but there is a sign of self-development that causes a constructive moment.
And the last principle of sociosinergheetics - the principle of "removal from nature", assumes that in the process of sociocultural evolution
the proportion of artificial habitat of a person is naturally increasing. Under the influence of this factor, the entire picture of the world changes, the format of which in this study is contacted by the "frame" of such elements of reality as: nature, society, art, since they were the traditional objects of philosophical and aesthetic studies in the history of science.
In the 21st century, in the presence of many concepts of nature development as part of the bifurcation development of the Universe, the effective aspect of the aesthetic estimate of the phenomenon of nature becomes important, which takes into account what place this species in the overall picture of nature, the value and significance of this type in it, as well as the possibility of bringing To the attractor, as the necessary way of existence.
The natural system itself through the prism of aesthetic categories is a sample of the simultaneous coexistence of beautiful and ugly, elevated and low-lying, tragic and comical objects and phenomena; Which without artificial human intervention developed on a bifurcation path through the points of rise and falling with the participation of small and large fluctuations, demonstrating the person a reasonable example of a synergistic self-organizing structure. Nature itself contains chance and irreversibility as significant moments. This leads to the "new picture of matter: it is not considered more as passive, as it takes place in the mechanistic picture of the world, and has the possibility of spontaneous activity. This turn is so fundamental that we can talk about a new human dialogue with nature. "
In the analysis, it was revealed that the aesthetic properties of nature became not only the subject of contemplation and pleasure for a person, but also advocated him to the activity, in many ways the intelligent path of creativity. It can be stated that with the time of the coarse and barbaric intervention of a person in the system of nature, its aesthetic properties have undergone significant changes (the number of terrible, ugly, low-lying phenomena and objects has increased significantly. These changes not only have fundamentally influenced the aesthetic "physiognomy" of nature as a whole, but also led to irreversible global changes that threaten life on Earth. Therefore, it is advisable to turn to the experience of nature itself: the knowledge of the laws and mechanisms of the "creative" nature will allow a person to creatively comprehend and simulate its future, including harmonizing the aesthetic properties of nature, and ensure civilized being, i.e. The harmonic state of society.
To significant factors for the formation of a modern aesthetic painting of the world, the transformation of the geopolitical space of the country, the change of spiritual landmarks, the pluralism of interpretation and assessment of the importance of the past country, the spontaneity of the economic, political, social life of Russians.
At the moment, the state of the modern world is characterized in the study as a civilization layer or as a giant bifurcation due to environmental, demographic, financial and economic,
socially political, religious, ethical, ideological crises, which are covered in bright beautiful today. For this purpose, paracategories are used in the description (inventory formulations of post-classical concepts). But it was revealed that the forms of public consciousness (religion, science, politics) in the modern world also have separate phenomena and objects characterized by traditional aesthetic estimates. Modern society, in the opinion of L.V.Leskova, is at the stage of the sixth geopolitical crisis of the information society and at the steps of the fifth technological way, the main signs of which are: the emergence of post-symbolic science, orientation for interdisciplinary and problem research, comprehensive programming, quantum-vacuum technologies, Reality protestructura, universal cosmological field.
The presence of numerous phenomena and objects of ugly, terrible and low-lying in society characterizes its condition as a civilizational decline, or as Oswald Spengler predicted, "Sunset Europe". This is how it characterizes this state of the Russian society L.V.Lonzkov: "This socio-political system is not able to keep stability for a long time. It exists only due to the fatigue and civil apathy of the majority of the population. But its destruction is historically inevitable. However, this process will end, unfortunately, the further collapse of Russia and its departure from the historical scene. ".21 a study examines several alternative development scenarios for both the Russian and the world community:
1. Unipolar globalization according to the PAX Americana model.
2. Unstable equilibrium of several world power centers.
3. Collision of civilizations, increasing the waves of terrorism, drug business, "small wars".
4. Disintegration of the global community on poorly related power centers, return to barbarism, new Middle Ages.
5. Ecological catastrophe - first regional, and then global.
6. Globalization on the model of a partnership of local civilizations in solving global problems.
7. Globalization according to the model of a nosporological post-industrial transition in a qualitatively new scientific and technological breakthrough.
But among them allocated the last two scenarios, which have a positive steady direction and the possibility of entering the synergistic model on the attractor. In this sense, "we are approaching a point of bifurcation, which is associated with progress in the development of information technology. This is "Society with a network structure, with his dreams about the global village. "22
One of the paragraphs of the chapter is devoted to the analysis of aesthetic in contemporary art, which is inherent in high dynamism, operational response to
technological and geopolitical situation, and maybe ahead of the corresponding cycles. Therefore, the place of art in the picture of the world is determined from the point of view of synergetics, in accordance with the level of development of nature and society. Due to the high responsiveness of art for bifurcation changes in nature and society, the art itself has repeatedly changed the cycles of its development, which was reflected in the change of artistic styles and cultural eras.
This complexity manifested itself in an unconventional understanding of excellent art: it consists not perfectly form, not in the depth of the content, but in the values \u200b\u200bof the very search and soloing the viewer of a hidden aesthetic meaning, in the originality of the artistic concept of the author and in the ability to open the internal contradiction, ideological incompleteness of his eyes being.
External beauty was today more popular than internal, as it fully satisfies the social request of the modern world. From a philosophical point of view, such a transfer of an accent from inner beauty to the external justifies to the refusal of a modern person from spiritual values, in favor of values \u200b\u200bof material and bodily values.
Expressive-naturalistic scenes and images of violence, cruelty, sadism and masochism in modern "works of art" are aimed at the initiation of negative emotions of protest, disgust, squeamishness, fear, horror, shock. Thus, the ugly is absolute in the modern aesthetic picture of the world and is included in one row and on equal conditions with all the other aesthetic phenomena of being-consciousness.
As a regulator of a synergistic art system, a comic, which became the most relevant and in demand because, is a constructive effective element of the dissipative design of contemporary art.
The dissertation traces an attempt to create a new mythology based on illusory simulacra, which manifest themselves in Maskalt trends in art: entertainment, absurdity, cruelty, physicity, stories. In the art itself, a gesture, personnel, entertainment, alogyrism, paradox, artistry, visual-verbal drive are provided.
The analysis revealed a significant change in the aesthetic properties of this system and its dissipative (chaotic) state at the point of bifurcation. Such a state of art naturally corresponds to the state of nature and society, of the world around. In this fact, a certain synergistic fractality (fragmented self-similarity) is seen, which is similar to the philosophical idea of \u200b\u200bthe monastery of the elements of the world. Each monad, on the leibher, reflects as in the mirror the properties of the world as a whole. Since synergetics argue that chaos is constructive, then the exit of contemporary art from the point of bifurcation will be based on changing the levels of nature development, society and approving a certain
artistic style, directions, flows. After all, the dynamic sustainability of complex processes of self-organization and self-development is maintained due to the consecutive laws of the rhythm, the cyclical state change: the rise is a decline - the lifting. And the living, and non-living, and the person, and the world, and art - everything obeys these rhythms.
A virtual reality is considered in the theoretical plan - one of the relatively new concepts of non-classical aesthetics.
The main and decisive difference of virtual reality was revealed by the fact that it does not so much reflects reality, how many competes with it, creating an artificially created environment in which you can penetrate, change it and experience real sensations, and also embodies a dual sense: the image , potentiality and truth.
The work has noted the specificity of the virtual world, which is interactive, allowing to replace the mental interpretation with a real impact, materially transforming any object. The role of the viewer, who becomes the coherent of virtual reality, experiencing the effect of feedback, which forms a new type of aesthetic consciousness, imposing a modification of aesthetic contemplation, emotions, feelings, perceptions. In the center of this complex virtual "web" there is a creator man who is able to consciously direct his will to create aesthetic objects in accordance with his idea of \u200b\u200bthe beautiful and ugly, on the elevated and lowland, about the tragic and comic, on the form and content of aesthetic object (computer Morphing as a way to transform one object in another by its gradual deformation deprives the form of classical definiteness).
For the aesthetic picture of the virtual world, the characteristic uncertainty of virtual aesthetic objects was revealed, due to the judgment on the aesthetic value of any work, the phenomena of nature lose their clear meaning. Computer special effects contribute to the occurrence of abbivalent multi-machine, inhabited by virtual characters, which live in the fantastic sphere of dematerializing objects. Fantastic and real objects in a virtual environment become practically indistinguishable. The possibilities for the design of virtual worlds according to the ideal laws of modeling psychological reactions, as well as the invasion of the artificial worlds of other participants in the virtual game affect the perception of the real world as irrational data that can be unlimited control. Such an illusion of participation in any events creates an artificial catharsis. On the one hand, affecting the subconscious, artistic virtual reality provides an instant realization of the integrity of aesthetic effects, which contributes to the expansion of the sphere of aesthetic consciousness and vision of the picture of the world. For example, the newest experiments with biochemical virtual reality are aimed at artificially stimulating emotions - feelings of joy, grief, anger, love-sexual
experiences. On the other hand, psychology researchers celebrate a certain "rejection" of those who joined the virtual world, to plunge into artificial peace again, violation of social contacts of the individual. Addictive to the dynamics of computer games reduces the ability to contemplate, and the participants of the process themselves become online. Thus, there is a replacement of the real world by a virtual simular, which blurs the feeling of aesthetic distance, aesthetic criticality is reduced. And the virtual creator is already difficult to operate with the classic aesthetic categories of beautiful and ugly, elevated and lowland. For example, it is difficult for him to call the death of a person tragic, as it is reversible in the virtual world.
The study establishes that virtuality deform moral and aesthetic values, for example, tolerant attitude to violent death, the creation of a fake video complex - falsified printed, sound, photo and video files. Such spatial-temporal metamorphoses based on network methods of transmitting any information lead to disruption of causal relations.
Due to these metamorphosis of the perception of the world of real and virtual in the thesis, it is indicated on their interdependence in the holistic structural description of modern reality through the prism of aesthetic categories.
The entire picture of the modern world is presented in the study as a game kaleidoscope of texts, meanings, forms, formulas, symbols and simulacris. It was revealed that in this picture the aesthetic estimate of the world objects is directly dependent on the installation of the artist itself and the viewer. A fundamentally relativistic plant for the perception of the modern world is far from a simplified understanding of the positivity of the order and negativity of chaos. It suggests a constant confrontation of an arranged divine start and chaos, in which the development of a life process occurs.
In conclusion of the thesis, the general conclusions of the study were formulated, scientific results confirming the legitimacy of the hypothesis extended, hypothetical assumptions were specified about the possibility of introducing the concept of aesthetic picture of the world in the categorical apparatus of aesthetics.
The entire picture of the modern world appears as a game kaleidoscope of texts, meanings, forms, formulas, symbols and simulats. In this picture, the aesthetic assessment of the objects of the world is directly dependent on the installation of the artist itself and the viewer. A fundamentally relativistic plant for the perception of the modern world is far from a simplified understanding of the positivity of the order and negativity of chaos. It suggests a constant confrontation of an arranged divine start and chaos, in which the development of a life process occurs. In this sense, nature looks in the picture of the world as a sample of chaos converter to ordered beauty, and art, like nature, must transform human relations,
looking for their beauty and harmony. Following the teachings of Vl.Solovyev, a person in such a situation should speak with the Creator, who is free and on the basis of his own knowledge, faith, will be able to finally organize reality in accordance with the divine design.
The development of the modern world globalists and synergies are associated with a popular idea of \u200b\u200bthe formation of a nobediogeosphere, such a state of the biosphere, in which the reasonable activity of a person becomes a decisive factor in its development. The path to the nosophone lies through the increase in the role of the intellectual principle, the gradual predominance of spiritual and material factors over the material, which, according to synergetics, will allow human civilization from the point of the bifurcation broken to the attractor. Since the noospheric mind is an individual mind, and the integrated intelligence of civilization, the synergistic effect of combining human knowledge and technical means arises. The formation of nobotogeospheres seems to be the process of self-organization of sustainable integrity in nature and society, therefore such a category of science as aesthetic picture of the world can be used as one aspects of consolidating aesthetic experience on the way to "noospheric existence".
1. Suvorova I.M. On the question of the relationship of art and aesthetic paintings of the world // Control: History, science, culture. - Petrozavodsk: Publishing House of SBS, 2004. - P. 188-191, (0.2 square).
2. Suvorova I.M. Virtuality and aesthetic picture of the world // Control: history, science, culture. - Petrozavodsk: Publishing House: PSAGS, 2005. - P. 267-270, (0.2 pp).
3. Suvorova I.M. To the question of the relationship between language and aesthetic paintings of the world // Reality of Ethnos 2006. The role of education in the formation of ethnic and civil identity. - St. Petersburg, signed in print 20.03.2006. -FROM. 616-619, (0.3 pp).
4. Suvorova I.M. Educational aspects of aesthetic painting of the world of the Epoch of Enlightenment // Sat. Scientific Art. graduate students of the CAP. / Ed. E.A. Sergina. -Petrozavodsk: Publishing house GOU VPO "KGPU", signed in print 01/16/2006. - P. 128-133, (0.5 p.).
5. Suvorova I.M. Aesthetic consciousness as a human and environmental conflict regulator // Sat. Scientific Art. graduate students of the CAP. / Ed. E.A. Sergina. - Petrozavodsk: Publishing House of GOU VPO "KGPU", "signed in print 01/16/2006. - p.112-115, (0.5 pl.).
I See: Beauty and Brain. Biological aspects of aesthetics: per. from English / Ed. I. Renchler. - M. 1993. - p.24.
2Nalimov. In search of other meanings. - M., 1993.-p.31.
3 in the works of O.Shpengar, L.Vitgenstein, M. Deber, V.I. Vernadsky, M. Plaanka,
A. Einstein and others.
4 cm. Works P.V.Alekseeva, E.D. Blyahher, L.M.VOLYNSKAYA, R.A.Vihalhemma, V.G.Ivanova,
B.N. Mikhailovsky, V.V. Kazyutinsky, R.Skarpinskaya, A.A. Korolkova, A.I. Korvchenko, B.G. Kuznetsova, L.F. Kuznetsova, M.L.Lesgina, M. V. Mostepanenko, V.S.Stainina, P.N. Fedoseeva, S.G.Shlyakhtenko and others. In foreign philosophy and science, M. Bunghager, L. Yuisberger, M. Khaidheger, J. Kholton appealed to this topic
5 Einstein A. Autobiographical notes. - Satra. NUCH. Tr., T. 4., - M., 1967. - C..542.
6 Ovchinnikov Yu.A. Aesthetic picture of the world and value orientation // Value orientations of the personality, paths and methods of their formation. Abstracts of the scientific conference reports. - Petrozavodsk, 1984.- S. 73.
7 Nalimov V.N. In search of other meanings. M., 1993. P. 31.
8 Valitskaya A.P. New School of Russia: Cultuous model. Monograph. Ed. Prof.V.V. Makayev. - St. Petersburg, 2005.
"The images of the world in the history of culture of various countries were also considered by MD Akhundov, L.M. Batkin, O. Bensh, T.P. Grigorieva, K.G.Malo, V.N.Toporov and others. 10 cm. Works S.S.Averintseva, E.I.Vysochina, Yu.B. Boreva, R.A. Zobova and A.M. Mostepanenko, B.Mygdala, B.S. Meilaha, N.S.Skurt and other authors.
A number of significant issues related to the language, scientific and aesthetic paintings of the world, considered I.Ya.Lufman, N.S. Novikova, Grain, N.V. Hermisin, I.V. Himnikova.
12 Bychkov V.V. Aesthetics. M., 2005. - P. 7.
13 See: Prigogine I. Nature, Science and New Rationality // In search of new worldviews: I.Prigogin, E. and N. Ryrihi. - M., 1991; Prigogin I., Stengar, I. Time, Chaos, Kvant. - M., 1994.
14 Scarlet N.S. Art and picture of the world. - Chisinau, 1990. - P. 43.
15 Meilah B.S. New in the study of artistic creativity. - M, 1983. - P. 87.
16 Spengler O. Sunset Europe. - Novosibirsk, 1993. - P. 546. "Ibid. - P. 512.
18 Leskov L.V. Synergetics of culture. // West. MSU. Series 7. Philosophy. - 2004. No. 4 - p. 47.
19 Knyazeva E.N. Accident that creates the world. // In search of new worldview: I.Prigozhin, E. and N. Ryrichi. Philosophy and life. № 7. - 1991. P. 18.
29 Prigogin I. Nature, science and new rationality. // In search of new worldview: I.Prigozhin, E. and N. Ryrichi. Philosophy and life. No. 7. - 1991, - p. 33
21 Leskov L.V. Synergetics of culture. // Philosophy and Cultural Studies. Bulletin MSU. Series 7. Philosophy. -2004. №5.- p.24.
22 Prigogin I. Bone is not yet thrown. // synergistic paradigm. Nonlinear thinking in science and art. - M., 2002. - P. 18.
Signed in print 26.05.2006. Format 60 * 84 VIS .. Order No. 79. Offset paper, 1 P.L. Circulation 100 copies. State Educational Institution of Higher Professional Education "Karelian State Pedagogical University" Republic of Karelia. 185680, Petrozavodsk, ul. Pushkinskaya, 17. Print shop
1.1. Cartina M1F, its features and disorders
1.2.Sycification, structure and functions of aesthetic mapping1f
1.3.Sotypes of aesthetic KartGSHMSFAS YUCHUNKARTSHOYM1FA.26 Vody
Chapter 2. Caucidyomerities of the historical form puzzle and development of the aestheticcarics M1F
2.1. Esthetic Carisseashfaprotoian era
2.2.Sthetical Military Cardsho Eioi Classical Science 60 Vody
Chapter 3. Aesthetics and Kaptinia in the world of Iostclassic Iteriod
3.1. The scientific encodes for the Iroblem of the modern bp
3.2. Methodology of the study of the modern picture of the M1FA ashshergietic system
3.3. Aesthetic in irichode
3.4.Sthetical in society
3.5. Estets1 Great in art
3.6.Virtuality and aesthetic MartsHire 133 Vody
Introduction of the dissertation 2006, the abstract of philosophy, Suvorov, Irina Mikhailovna
In the last decisters in social and spiritual areas, the company's value changes. Drashimically, a developing information society recognizes the highest compost of a person with a high pad of freedom, independence of Icommunica. Changing the geoolytic situvi, a variable technological structure, Growth of Commugepsath! They led to essences in the space of Zhunn of a modern man, first of all, across it. The actuality of research and the research studies are increasingly turning to problem phones and the crucia of the cultural paradigms of the PvethetiyatskP from this broadcasting! In the aesthetic creating society and man. Relevant the studies are due not only to the object process of the cultural historical movement of humanity, but also the dynamics of a person's personal-stained person in a modern complex MHF. Obviously, scientists neuroft swept (Metsger, Hosierse) ^ In the PersonNownStolecPG of each person, there is a syshirt of generally accepted aesthetic averages, which is explained by the peculiarity of the human brain to reduce the all-stable and chaotic to order and symmetry, as well as in perception of the informs to test the so-called "joy of learning" - aestheticenasladesh. Therefore, all objects of the surrounding bout of a rash-source assessment, which seems to have the ability to streamline surrounding surrounding and getting perceived, i.e. "The intention to add an aesthetic beginning to the aesthetic beginning". ^ This factor of aesthetic-proportion leads to the Actshai Ioiska 1CHFormak1p1 and zoyschitelitate the social adaptation of a person in the surrounding "cm .. Beauty and Brain. Biologic Aesthetics Aspects: Lane. -1l. 1993. -s.24. ^ Nalimov. , Nizhno traditional classical concepts, set-age-cellular, no one-easthetic (from the point of view of classics) categories (absurdity, cruelty, etc.). Such polarization of aesthetic estimated actor requires introduction to the categorical equipment of universal philosophical philosophical phenomena! Arts and IR1fodes. A large role here is 1 The aesthetic detective ", the development of the appearance in the aesthetics of the IRCLESE princesses of the relay, Pollopmia, polymorphra! Values, as well as the tendency of Estehetikiv Psherchnayuk, which is a philosophy, philosophy, philoloppo, art historical shops, culturaloppo, semiotics, synergies and globalism. Suite tendency to the generalization and deepening of M1Fovzrenzhenchiy1x, the attack of the methodological OsiShNAG IMAYANNY NRS in all areas of the phumanitarian and natural scientific thought. Thus, at the beginning of the 20th century, in connection with the intelligence of the M1Froves and philosophers! ^ Started by the Unswatch of the Universal LDFA cartshema, which was obtained by the inensible bio-speaking development on the F1Sophical and theoretical level. "" "" Widely juvenile discussion of the 1960-1970s on the problem of Esthetic essence, in In the course of the most fully substantiated philosophical and aesthetic concepts, which included in the history of the "Pr1fodic" subsidies (N. A Dmitriev, M. F.Ovysyannikov, G.N.PosPelov, P.V. Sobolev, Yu.V. Lynnics dr.) and "Public", unfolded later as an axiological theory of aesthetic states (M.S. Kagan, L.N.Stolovich, Yu.B. Borev and others). A special place in aesthetics was taken by a position with which aesthetic is treated as expressiveness, an expressive form. This theory is the development of development in the works of the LF. Losev and found its reflection and use in the works of V.V. Babychkova, O. Akrivzun, Yu. A Ovchinnikova and other authors. ^ In the works of O.Spengarler, L.Vitentheina, M. Deber , V.I. Vernadsky, M.11Lank, Alenstein and Other. ^ See Works P.V. Alekseeva, R.Avikhalhemma, V.G.Izanova, V.Nmimikilovsky, V.V. Kazyutinsky, R.Scapinskaya, A. Akorolkova, Akkravchenko, B.G. Kuznetsova, L. F. Kuznetsova, M. L. LEPPP10Y, MV Mostepanenko, V.S. Depina, P.N. Fedoseeva, G. Shlahtenko and others. In the foreign philosophy of Inayuk to this topic, M. Bungger, L. Yuisberger, M. Khaidheger, J: Kholton's different sectors of sciences rustled their studied areas of real reality, was formed by a specific expression on the one, or the 1st part of the world, and as a result, described as described, 1 Party, schuch paintings. It turned out that scientifestoretic knowledge is not there is a simple generalization of these experiences, but there are synthesis-platinal ideas with aesthetic criteria (perfection, symmetry, elegance, tarmogash theoretical noctpoeiiirii). The scientific theory of Tolovyso is then physical realism, considered Eyestein \\ when with possessive perfection. Consequently, in the form of physical, astronomical et al. Scientific cards1Sh W Φ and there are also an echuyoby-shaped seacure of an idexy of reality. Thus, in aesthetic elbows, all parts and properties of the phenomenon are recognized by the relationship of somewhat and comprehend through the unity as a whole. Here all the sickness of parts of the parts of the Yavleshm and their kilkvscheshchesh are the propeller's propeller sustrousness! whole. His own measure to Javelishy is to be able to understand the integrity of all properties in the combination of all properties, it is aesthetically engaged. Such an understandment may have a positive interesting result, which is correlated with aesthetically positive source categoryLS. In practice, Ilane, it can be noted that the aesthetic one of the person is extremely stamped in his essence, to look for his depths and the well-known aestheticals!. The "Theoret1GC Development of a Joining Aesthetic Paintings of the World" will contribute to the "Methodopesis of a reliable and euristical Sushi-scientific basis for the formation of stable and PPFokyhetical TSE1Shosts11 pp orientations". ^ Mythic studies are hard to develop that the development of the CTF cards is particularly relevant "Einstein A. Autobiographical notes - Cobeduch. Tr., T. 4., - M., 1967. - 542. ^ Ovchinnikov Yu.A. The aesthetic picture of the world and value orientations // Value orientations, paths and ways of their formation. Abstracts of the Scientific Conference reports. -Petrozavodsk, 1984.S.73.6 It is today that the human shchklgaacennya Journal in a periodically bifurkashnyy sober H change of cultural naradngama. It is possible that the solution of this task is impossible without an atmune caustician beginning ^ This problem has a particular problem. Selected topics. The relevance of the problem, the insufficiency of its theoretical development, the unquestion of determining the status of the concept of the meaning of the Schu Temsenvenua: "The aesthetic picture of the Schua and the problems of its Forstopovanny". The factory is developed by the problems of KartGaga Opfa in Fhushosofn was the subject of a study of representatives of various philosophical directions! (Diacelism, Phenomenolopsh and etc.). The development of this FTShosophical problem has shown that the general picture of the APFA is not being additioned in the framework of one sprinkler science, but each science often applying to the creation of its Siecial Picture, contributes to the form1Fovash1e and the Jewish of the universal painting, which combines all areas of knowledge in the eradication . The problem is developed by the problem of KartGa Lpf in Workshops.S. Averintsev, M.D. Aahundova, E. D. Blyahera, Yu.Borev, V.V. Bychkova, L.Väisberger, E.I.VNSOSHOY, L.Vnthrenigetteina, V.S. Danilova, R.A. Zobova, A.I. Kravchenko, L.F. Kuznetsova, I.Ya.Luffman, B.S. Meilaha, A.B.Mygdala, A.M. Mosmtepaneiko, N.S.Novikova, Yu.A.O.ovchshsh1k0va, Rainish, V.M. Rudneva, N.S.Skurt, V.S.S. Rostengsha, M. Hydegger, J. Kholton, N.V. Chershov, O.Shpengler. "Nalimov V.N. in search of other meanings. M., 1993. 31. ^ Valitskaya AP. New School of Russia: Cultuous model . Monograph. Under Red.prof.V.V. Makaeva. - St. Petersburg, 2005.7Mirovization has always been jealous as the co-compound of the views of the I subsections about M1FE, where they are reflected and the aesthetic relations of the person to reality. Therefore, the ionics of the world's cards are connected with art and aesthetic. Consciousness was the logical of the monomer fact in the development of theoretical thinking. So, the bissellasting of the aesthetic thought often reconstructed the mostobitz Irsdstalshsh about the HFS in that or iniyio, the historical Eioch, who was collapsed by historians as Kartsh1a M1F, Il Isusch; Aya creative culture. Similarity of non-stovenine in Antichiy aesthetics Nocalesa-F.Leshev, in the omework culture - A.Ya.Gurev1I, in the Russian Estehetic Wehis1shi XVIII century - A.P.V1sh; Kay. ^ At the turn of the 1970s - 80s, the artist of artist is discussed Marts of BPF ^, images and models M1FA in the differences of national cultures explored. D.Gachev, paying special importance to the worldwide creativity. Thermis "Aesthetic picture of the IHPA" is used in their work. Andchgshpsps (1984) and E.D. Blyaher (1985), "" Where is the survey tasks of IU IO IRO and formulate important asienting and aesthetics. Sui]; Inspection in Homimamie, Iredmethetics V.V. Beschkov, who collapses it as a science "Oh Garmoshch Man Sushchersumo)." Staging the IROBLEM OF AESTHICAL MANDATE BYPAIOOINS, G ^ go this iony-highly connected with an ethetical and aesthetic and is aesthetic and is in Snacks from his most important Lellershp !. The second group of research literature - work, the Rodland; neural circulation of the world in the history of culture of various countries also considered M. Dahundov, L.M. Batkin, O. Benhest, T.P.Grigoriev, K.G. Malo, V.N. Come on the pores and others. ^ See works of S. Averintsev, E.I.Vysobova, Yu.B.B. Boreva, R.Azobova and A.M. Mostepanenko, B. Migdala, B.S. Meilaha , NS.Churt and other authors. ^ A number of significant VOCs ^ Osov related to the language, scientific and aesthetic paintings of the world, viewed. I.LUFMAN, N.S.Novikova, Greynn, N.V. Hermisin, sq.chernikova.8Flosophically and art historical analysis of the art of different cultural and artistic, is so high, it is so great that it is supported by the sore nonsense of names. The greatest meaning for this dissertation study has the work. In P. Poor, Aristotle, V.F. Sammus, O. Balzak, M. Bakhtin, O. Benesh, Bergeson, V.V. Bsychkova, A.P.V1chka, Verper, Voltaire, G.V.F. Gegel, Gorshechez, A.V.Gulip1, A.Ya.Gurevich, M.S. Kagan, V.V. KSH1DSH1, I.KShGGA, Yu.M.lotman, AF. M.Mamardashvili, B.S. Meilaha, M.F. Vysyannikova, H. Ortega-I-Gasset, Petrarki, Plato, V.S.Solovieva, V. Tatarkevich, E.Fromma, Y. Sayesiga, V.P. Shestakova, F.Shleglev, F.shiller, U.EKo.Trequery of the sources - the latest research in the woodesthetics novation of the culture of culture - work V.S. Danilova, E.N. Kyazyova, L.V.Leskova, PB Maikovskaya, L.V. Morozova, I.Prigogin, I.Sh.safarov, V.S.S. Wenin, L.F. Kuznetsova. It is necessary to note that I-RESTRACT) is shley in this work, launched on the data, and philosophers, cultural scientists, art historians, grashergetics and globalistal, justifies his own vision of the Neroblematiciki of the aesthetic painting, which was affected in the works and Reverse show. In a number of workshop, the characteristic of the individual important asjects of the Ionatius paintings1, its features are varieties, as well as its defects, the formist of specific historical Eioi. Odiako A number of historical Itoretical Iroble's historical asices remains outside of research interest. The study of the study is aesthetic M1FA Cardshche Caulor of the Herculesal Iostiyia Reality. The student of the study is the formatical and historical aspects of the Aesthetic Cartinet of the Lshra in theoretical and historical aspects, committed to its ongoing istorii.9Tsel pssledovashsh: osmysleppe ponyatpya esteticheskoykartppy shfa as a universal aesthetic kategorhsh as sposobaoppsappya estet1ieskoy vyrazitelnostp environmental deystvitelnosticherez npiDMy categories estetpkp.Iz set tseln flow problem pssledovanpya: based on analgaa fgshosofsko estetncheskoy-n-fiction theme poshuchaemoy consider stapovlenpe concepts estetshkskoy Kniksh! MPRA; consider the ratio of aesthetic MSF cards1shi with a scientific nh-duty picture of the IHF; carry out an analogue of the Estet1 Oh MSF cards, define the EGRESTO in the aesthetic Pozashshn P status within the framework of the philosophical officerfovzrenpya n scientific knowledge; on the material of the Western European Ettetpkp, consider the process of the development of the development of the specialized features of the pc formation at different stages of the Psornn culture (antiquity, Middle Ages, Renaissance, Classcang, Enlightenment, Romanticism of psychodwism, naturalism N realism); consider the sprinkler of the formation of the aesthetic picture of the modern schu, its structural n meaningful differences of the convicts of the Cardsho! M1f; Establish its role in the form of a person's formalism. Methodology Research the dissertazgag is applied by FDNLO-aesthetic, HCTOPInCactive, sshchiergetic research methods / in the work is used by the elements of a comparable-in-history analysis, 1chetheorical ideas are combined with the study of their consoleurium-church. Prieuzine I. Nature, Science and New Rationality / Kprigogin // Philosophy and Life. 1991. No. 7; Podzhin I., Stengar, I. Time, Chaos, Kvant. - M., 1994.10Contsta. West ^ Shikkin Nessented are the works of the philosophers of the XVIII - XXI centuries, which engaged in the problem of aesthetic picture1; Works dedicated to Teopini Hist History of Art, the Global Completes of the Contemporary World, as well as the work in which the analysis of the Concultuous References of Literature, Fine, Musical, Multimedia Art; Ideas and images relating to different Enuham more vividly express them. Inherited in the following directions: In the Fourteen, the interpretation of the picture M1FA is discussed in detail in the Russian and Western European philosophically and aesthetics of the XX - XXI century. The ratio of aesthetic and affluent Milf carts . In general, the chapter considers the patterns of the historical formationSthetical KartGSH M1FA of the Irotonatic period, classic-supporting periods and post-grams. In the third chapter, the basis of the complexity of the first aesthetics of the ideas about Pr1fod, a society, arterassmatrhchitsy, the general illumination of the formation of coneteine \u200b\u200baesthetic carotine of the Schu as a model of the synergistic system. Investment: the studies are made that the aestheticarina schu can be\u003e a gniversal FDNLO-Esthetic category (as a form Theoretical generalization) H in the consumerism of the associates is thereto components and educational-raised value. This is associated with the bubbits of the development of human human education and the need for formerfovshshshshchi a holistic ITFOZHENNE of the modern person. In the framework of the study, only theoretical anaso is being carried out, but the nzuchenous vanos is not exceeding the novelty of the novelty novelty of the ps and the theoretical content of the new language concept - the "Estettest painting of the world", the faint of it to clarify and give it to Yuuchestor! artic culture of aesthetic thought; In the detection of the characteristic peculiarities11Forchfovashchs of the historical cards of the world and their people of communication; Wording the specific status of aesthetic car market of Kakoiyatiyatius, relating to Odisremus to Jaaucia I [to AlteriamiMimirosyovania. For the first time in the light of the ideas of conesey aesthetics and sshchiergeticia, the originality and the jeodioity of the aesthetic karti-lawyant bp pf, G ^ is due to the prosperity of its fortifications of the systemic crisis of society and culture. At the same time, the results of the expectations are identical to the enormous significance of the aesthetic philataking! The new mzfonophone, wasted to create the basics of mankind of humanity Ig deadlock situat!. The scientific importance of the research conclusions of the dissertation study is allowed to consume, G ^ aesthetic picture of the LDFA is in aesthetics in the way of the sewage categories of modern science and asks the Wayrakurs of its desire as a philosophical Jew. Materials and outputsSertas1p1 can be used in long-ranges of studies of Nofnlosofsh!, Aesthetics, culturalopesh, art historical and the development of the historical and theoretical orientation. Practical zoisnability of research results Researchs. ! Education. The author's resistant iodennogenic authorized by the author is possible for a further teaching of the originality of aesthetic cards of bppuccotic equations, connections with other pictures of M1FA. Strong Nalvin Dniesrtacegag, remove to defense: 1. ACTIVE DEVELOPMENT In modern science N F1Sophysh1 Nonyatykartins sh F and nominates a caretic picture of the world by November. Reflecting all aesthetic developmentaries in its integrity, it is clearly understood by the asttytiest painting of the M Flywalls, important scientific and ideological functions.2. Being closely related to the very essence of the category of Estetgiysky, the lard of aesthetic M1FA's aesthetic card reveals its crucial role to the universal scientific and loss-prochest search.3. The historical formification of the aesthetic painting of the BPFA is no longer the basis of developing MGF obsession, while the aesthetic cathegorshgobes are a certain stability of the overall tendency in the IICTopiniIn systems on the aesthetic expressiveness of the surrounding MRF, consisting in the desire to see the M1F Surminate Survection. Basic! Overcome! When constructing aesthetic mapping cards, the NR1Fod, NR Society; Found from the XVIII century, inchfovashp! The Aesthetic Cardhish BPFA is the increasing role playing Nasaka actively aesthetics, which elapsed as an independent philosophical disshc1.
5. The special role of Jews is manifested in the Forshpovashshche of the modern easthetic maps of M1FA, in the creation of which a significant place ispsed, in particle, sshchiergetics and globalongstpse. The initiation of ideas, the basis for the basis of the psyss of the bonding provisions of the DNSSERTACHPG, and were also discussed on the regunional conferences: " University: History, Science, Culture »(Petrozavodsk, North-West Academy of Public Service, Karelskshche! Branch, 2004); "Management: History, Science, Culture" (Petrozavodsk, Northwest Acadesshs of the Public Service. Karelian branch, 2005); Note the international Koiferpsh! "The reality of Eppos 2006. The role of the formation of molds1fovashch ethnic and civil feasible" (St. Petersburg, 2006); and also at the annual research conferences of the State Pedagopesque Unhorstert. The dissertations13 The meeting of the Department of Philosophy of the KSPU and IA Department of Aesthetikirgpu. The dissertation structure: containing the thesis of the dissertation and 158 terraces of the mascio text. The work consists of injecting, three chapters, each of which is divided into Earagrafs, the conclusions of the IO of each islands, the conclusion, the silence of expression and the literature IO Daia themes, the IRTSHEZHEGAS with the results of an excisarimeytalyuyu study.
Conclusion of scientific work thesis on "Aesthetic painting of the world and the problem of its formation"
1. In modern aesthetic consciousness increasing the trend of the ethnics
mNRA with H03NTSSH1 new aesttytgic nonatshche!, Estranetic phenomena and
in the middle of this picture of MNRA, Nosntshchn Noschshchn n Gara. All
the picture of the modern world appears as a game kaleidoscope of texts,
means, forms, formulas, symbols II nonsense. 2. In this cardpga, an aesttytest assessment of the objects of the BPGR is in direct
the obstibilities from the subjective settings of the artist himself. 3. Programmatically relativistic statutory on the perception of modern MSF
far from a simplified understanding of the postpatrosnos about the negathestness of chaos. It suggests a constant narrow-rise rustic start and
chaos, in which the development of a life nrocessia is developing. "Chaos, i.e. Itself ugly, there is a necessary background of all silence of 1Pasot, H aestthastic
zaffega such javleggy, like a stormy sea or noshaya thunderstorm, depends on
the fact that "Node Raani Chaos is moving". "
4. In this silence of HP1fod looks like a piece of cards as a sample
chaos converter to ordered beauty, and ziscost, unknown
nryodia, must transform human relationships, having linked them
beauty and harmony. So eh; e vlsolov argued that the man in such
sITUATION! Schedule to speak with a core, which is free and based on
own knowledge, faith, reason will be able to finally organize
activity in accordance with the appropriateness with divine design. "I set this task as a task of art, I find it elements in NR1Ped.
human creativity, and the question of dying; understood; Ustchshy carry such
way in the sphere of aesthetic ". ^ Ta Martsha, which in front of us
he caught, being considering from the point of view of aesthetic cathegorsh!
demomerries then a state and content that corresponds to
postchalsterekomy in the art and Estet1p1Iskaya theory. "Solovyov B.C. Coll. Op. T. 7. - M. - 127. ^ Thamber, 352. Conclusion
The study on the topic of the thesis was conducted within the Princess
classical Estetgpsy, taking into account cardgashny transformational
processes in culture and aesthetic COPIANGAG. During the dissertant
studies were revealed by a number of tasks associated with theoretical and
historical study of the formatical painting process
lPFA. Based on the conclusions, making the text of the dissertages in Ocirobirom, you can
make the following generalization of the inset results of the study. Based on the analogue of philosophical-aestheggic literature (chapter 1)
it is shown that in connection with the general tendency of the development of science and philosophical
M1Fovzreiyia in modern aesthetics ACTINO FORMCHFUNY iony
aesthetic M1FA cards, applying for the role of Ushchersal Catigor1sh
aesthetic knowledge. Reflecting LPF in his essay
organgpovagaysti x ^ eerez npidriy main esthet1g1st Kathegortsh
the aesthetic picture of M1FA is insensitive to the complex structure of the macro- and
spfood. Comparison of aestthastic, artistic scientific paintings
lPPA scoes, aesthetic cards1 of M1FA has a special status - scientific
and alternative paintings of the MHFA is for the same time. So she can
interact with art and with science, choosing artistic
images and scientific ideas, as well as taking on a series of functional! scientific
character (systematiztfying, cognitive-anashagus, combing). Historical and aesthetic! (Chapter 2) Aalysis Process Development of various
aesthetic paintings M1F (antiquity, Odessa, revival,
Shotgshchagama, Enlightenment, Romantyu and Simvosoma, Naturalism and
realism) allowed to reveal not only the features of their formhlation on
every W three main HCTopinieckilx stages, but above all -
the uniqueness of each of them, their dependence on ITFO production and
M1Postovoschshchy era. Creation of cultural eras means Radgpsal
1Cennen and the most aesthetic LPFA cards. This detects and
a certain continuity in the wave of the aesthetic picture of MEF from
Epochs to the era. It is hanging in aesttytic categories, first of all
oceyok. Based on the IRIMETS OF SIIERGETIC PRS1Ps and methods for
descriptions of the aesthetic picture of the modern world (Chapter 3) shown that
the aesthetic consciousness of the OBSH; EMPT OF THE XXI CENTURY RESURALLYES ALL M1F (PRTF
art, society) as a relaytheistic meaning chaotic
systems. The perception of the Yavlai and Simulacars of this system is illiterate from
iOZ1ShSh [1Phoshp1 and games. All the cards1 of modern bpf appears as
game kaleidoscope texts, meanings, forms, formulas, symbols and
simulacra. And, however, the PCFod gives a sample of harmonyug and beauty, which
must follow art, permanent or formation Ob1; Equality. Aesthetic
consciousness of the 20th century developed in a crisis, developing sangle
tECHNICAL YCCAIROBIAR, and therefore, the ProtfgvorevyalPG is haracessing
fight ideas and concepts. Hence the whole acuity of problems
tied with creating a modern MTFA picture in aesthetics. The universal concept of "aesthetic cards1 of M1FA" as a holistic
systemic seized expressive images, NEDI and YVENSH! societies
iriodia, art, data through an erism of aesthetic categories, maybe
play a big role in Fitpfovpepsh M1Fovzresh1y. This opens out
opportunities in the field of form, in particular - in Ireiodavan1sh Course
aesthetics. The results of the experimental training are shown in the RRRSHOZHESH
the tasks extinguished by students who walked him with the Iiiter
requires associated with the problem of building aesthetic painting
In conclusion of the dissertation, it is necessary to note
further philosophical and theoretical paths Research and Irimereshche
dSHPHOHIOHIOGOGO CONCEPT IN THE SYSTEM OF AESTHETIC CATEGOR!
ionclassic. Conveyed modern M1FA globalists and sshiergetics are associated with
ioyolariya idea of \u200b\u200bthe foreshrophvashshchi nobotogeospheres, such a state
biospheres, in which the reasonable activity of man becomes
reasyutsksha factor in its development. The way to the Ioosphere lies through higher
the role of the intellectual principle, the gradual predominance of spiritually material factors over the material, which, Io Io Synergetics,
allow VIP "GG11 human Ts1Sh11Sh1P1P1 bifurcation point id
on the attractor. Since the noospheric mind is Indstidual Mind,
and the integral intellect of Tsivishoatsh!, then a revoked synergistic
effect of combustion of human knowledge and technical means. Naukadsh
noospheric class is called a complex of natural, human-money sciences
and ethical-releostic scientists!, in which the formation is carried out1
the deep syristetic structure of the NR Common, inanimate and
spiritual nature. In addition to this, Falpfovagpga Joobiogeospheres
it is identified as a process of self-organization1ZC1P1 sustainable targets in
m1FA picture can be used as ODSH from consolidation aspects
aesthetic tip on the way to "Ioospheric existence".
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Encyclopedia of perception (from publishing site)
The photo refers to the visual arts of art. Copies were broken a lot, however, now it can be argued definitely. The following is the translation of the article from - in general, the popular science - Encyclopedia of Bruce Goldstayne "Encyclopedia of Perception" (Bruce Goldstein "Encyclopedia of Perception"). I stumbled upon this book by chance: I "played" Richard Zakuya - the book is simply mandatory for reading people related to photography - Richard Zakia "Perception & Imaging / Photography: A Way of Seeing" - and I rushed to look for her or replace her . So came across Goldstayna.
Immediately stipulate: translate almost editors, do this discount.
The article is translated and posted with the permission of the copyright holder. Copyright belongs to Sage Publications Inc.
Original Articles: E. Bruce Goldstein "S Encyclopedia of Perception, Aesthetic AppReciation of Pictures. PP .. 11- 13 Copyright 2010, Sage Publications Inc.
Viewing works of fine art, providing a strong emotional impact, remains a fully personal process. In discussing the aesthetic perception of the picture in the framework of the study of perceptual processes, an attempt is made to reduce the gap between the clear understanding of the processes of the lower level - the visual and cortical * perception of the objective characteristics of the image, such as color and form, and less clear understanding of the highest level of visual phenomenology, or subjective experience.
Over the centuries, the definition and content of the concept of "aesthetic experience" seemed to be completely different people. Usually, as part of the study of perceptual processes (research of perception), aesthetic estimate is determined through preference based on the perceived beauty of the image in question. Thus, the study of perception is repelled from approaches to aesthetics as David Yuma and Immanuel Kant - in the terms of taste and beauty discussed by them. It is believed that the factors affecting the aesthetic response to the picture are both the physical characteristics of the work as such that are "inside the frame" and contextual influences, such as the name of the product and the method of its show (presentation) that exist "outside the frame".
Studies of the problems of aesthetic perception are still based on group methods (nometic approach), however, there is an opinion that only a study of a separate person / individual (or an ideographic approach) can serve as a reference point, if the goal is made a complete understanding of the process. This article is devoted to how aesthetic is measured, the objectivist and subjectivist approaches to the aesthetics are given, and refers to the use of these approaches researchers.
Measuring aesthetic
The origins of empirical aesthetics usually belong to Gustavu Fehenera and his book "Elementary Aesthetics" (Gustav Fechner, Elementary Aesthetics), and Daniel Berlin (Daniel Berlyne) attribute the revival of interest in the use of scientific methods in the study of aesthetic in the 70s of the last century. These early Experiments were aimed at identifying individual preferences of subjects through the assessment of large sets of artificially created incentives called "polygons" (Polygon). Polygons differed between themselves as a given set of quantitative (calculable) variables, divided into collamative (collative) (for example, complexity), psychophysical (for example, color) and environmental (for example, value / meaning). In accordance with the psychobiological approach of Berlain, the aesthetic experience / perception should be higher for the average level of excitation, with excitation calculated as the sum of the properties involved: for example, multilateral polygons must contain smaller color than polygo us with fewer sides.
These early studies have determined approaches to measuring aesthetic experience using a simple numeric scale (also known as Lykert's scale), when it is proposed to sort or evaluate images from the least preferred / beautiful to most preferred / beautiful. Despite the fact that this method is easy criticism due to the inaccessibility to the test of the entire spectrum of ratings, such subjective measurements are based on a perceptual study of aesthetic. Over time, subjective estimates of aesthetic experience have been complemented by objective indicators, such as the time spent on the viewing of a separate image, and the level of oxygenation (oxygen saturation) of blood in the brain, in order to provide converged data to understand aesthetic experience.
Aesthetics "inside the frame"
The first experiments aimed at understanding aesthetics through research of perception showed a significant simplification of the approach. It was assumed that you can come to an understanding of the sources of the beauty of the work of art under consideration by studying individual reactions to the basic elements of the visual perception. At the same time, the overall assessment of the pictorial canvase was divided into the study of the preference of the individual components: color combinations, orientation of lines, sizes and shapes. The general limiting factor for many psychological studies is the discrepancy between the ability to control the proposed materials in the walls of the laboratory, and accordingly, and the ability to summarize the data obtained, and much more diverse and rich examples of fine art existing in the real world. The study based on abstract visual stimuli means that the subjects did not have a preliminary acquaintance with images, and this limits the aesthetic experience as a primitive party, where the influence of the circuit or memory is excluded, and the image is estimated only through incentives. And these types of irritants are far from real: will the study of the polygons for something about the work of Picasso?
William Turner, The Shipwreck
The ability to study at the intersection of the lower and higher levels of visual experience gives us the work of Piet Mondrian (Piet Mondrian), in which the visual elements are specially superimposed on the basic visual forms, such as the orientation of the line and color. They gave researchers to consistently change the distance between the lines, their orientation and thickness, placement and combination of colors within the framework of the picture under consideration, to assess the level of change, to which the subjects recognized the original Mondrian composition aesthetically more attractive than modified. The results have shown that even the subjects without preparing in the field of visual art give higher estimates with the original picture, which suggests that aesthetic perception is partly due to the location in the picture of the visual elements. Other studies have shown that aesthetic preference is original, rather than modified paintings, also refers to works of a representative nature, although the preference of the original works was detected only after making significant changes. These observations made it possible to assume that the picture was aesthetically preferable, on which the artist achieved the best arrangement (or balance) of the elements, and this compositional balance is easily perceived by non-artists. The obtained data is perfectly consistent with Prägnanz principle related to Gestalt psychology (also known as "visual rightness") and provide evidence of universalism in aesthetic experience.
Marcel Duchamp, Nude Descending A Staircase
Aesthetics "Out of Rama"
In contrast to the objectivist approach to the empirical study of aesthetics, in which the beauty of the picture is considered hidden in the organization of the visual elements themselves, the subjectivist approach emphasizes the role of external factors in determining what is beautiful, and what is not. The need for the subjectivist component in aesthetics will be clear to someone who had misfortune to accompany the amateur painting Renaissance on the gallery of contemporary art. The fact that individuals can have completely different reactions to the same visual irritants, indicates that the attitude to art and preparedness has a significant impact on aesthetic perception. A comparison of the perception of unprepared spectators and art historians is often found in the scientific literature, although the understanding of what it means to be "art historical" or "which is art historian" has not been reached. Based on the differences between the figurative (figurative) and abstract art, the original color or changed black and white image, the aesthetic preferences of the "newbies" tend to the color image of figurative art, while art historians, as a rule, differ much wider range of preferences.
Edward Munch, The Scream
It is believed that the name of the picture affects the aesthetic response of the viewer. At the same time, this effect depends on both the title content and the type of image to which it relates. Adding a descriptive name for representative paintings can be redundant (for example, "shipwreck" of William Turner William Turner, The ShipWreck), but with more abstract works (for example, "Nude, descending on the steps" of Marseille Duceda MARCEL DUCHAMP, NUDE descending a Staircase) name Can help the viewer unlock individual ambiguous elements on the canvas. Moreover, additional information about the origin, style or interpretation of the work can significantly affect the reaction of the individual. So, the information that in the work of Edward Munch "Creek" (1893) (Edvard Munch's The Scream) The character in the foreground picture does not really shout, but rather trying to protect himself from the scream of nature, can radically change the aesthetic perception of the web . Studies were conducted in which reactions to work without name and with descriptive or explanatory names were compared. Descriptive names are often useful for the correct understanding of the picture, and explanatory, rather, lead to a deeper aesthetic response. Another external factor affecting the aesthetic perception is the picture of the picture. In the interests of the purity of the experiment, persons who participate in studies on empirical aesthetics are most often invited to consider images on a computer monitor for a limited time. It is radically different from viewing paintings in the gallery, where they are presented in the original size; The viewing distance is often carefully calculated, and the viewing time is not limited. Data compared to the perception of originals and reduced copies a little and indicate the lack of significant differences in perception; However, it can be assumed that some optical effects or the effect of scale, conceived by the artist, can be lost with a decrease in size. For example, the large color canvas Mark Rothko (Mark Rothko) can be evaluated differently, if you do not save their dimensions. Experimentally declined that a person usually spends half a minute to view the picture. Time limit may also limit the depth of the analysis of the pictorial work, leading to the aesthetic estimate of only the common properties of the image.
Is the feeling of taste?
Comparison of objectivist and subjectivist approaches to the aesthetic perception of painting works led to the beginning of the association process; The new approach is called interactivistic. In defense of the objectivist approach, it says that representative, and abstract painting cause aesthetic response, and, as such, the relationship between approaches should be considered through the prism of the picture itself, and not its content. In defense of the subjectivist approach, it is suggested that identical visual stimuli can lead to various aesthetic preferences. It becomes clear that it is necessary to consider alternatives to a nometic approach to empirical aesthetics. Bringing complex visual incentives to the main components, the researchers found it difficult to create a group model of aesthetic satisfaction, adequately reflective. Moreover, the clinical use of aesthetics, as a rule, to an ideographic approach. For example, the palliative benefit from viewing art items used in health care is largely based on the personality in opposition to institutional. Although patients in the early stages of Alzheimer's disease differ in the image classification, their aesthetic preferences can remain stable over a two-week period, while the explicit memory during this period does not remain stable. Finally, the existing examples of male and female images, reflecting ideal ideal, showed that aesthetic estimates are largely dependent on a variety of social and psychological factors inherent in the creation of these images. Understanding aesthetics and individually, and at the group level promises to lead to a more intense and excellent understanding of the surrounding. Studies in the field of empirical aesthetics proved that it is really possible to find a measurement for taste, although some of the most important aspects of aesthetic experience remain unattainable.
Ben Dyson (Ben Dyson)
I will add from myself.
Perception - (from Lat. Perceptio - performance, perception) The process of direct reflection of objective reality by the senses.
Figurative art (from Lat. Figura - appearance, image) - works of painting, sculptures and graphics, in which, in contrast to abstract ornamental and abstract art, there is a visual principle
Cortical - relating to the crust of large hemispheres of the brain, cortical
Scale Lykerta - named Rensis Likert (Rensis Likert) - the preferences scale used to identify preferences during polls.
PRGNANZ. (Clear, clear) - refers to the law of indentance, formulated by IVO Keler, one of the founders of Gestalt psychology. The law of persistence or "closetness" is that "field elements are isolated in forms that are the most stable and minimal stress" (Forgus). So, if the image of the torn circle will flash on the screen with a high frequency, we will see this circle with the whole.
Understanding the measurement object
the plate is borrowed with PSYLIB.org.ua. Author - O.V. Belov