Aesthetics in the photo and rules of the composition. Aesthetic aspects of the physical picture of the world aesthetic paintings

traffic: aestheticism
type of visual art: painting
main idea: Art for art
country and period: England, 1860-1880

In the 1850s in England and France there is a crisis of academic painting, visual art requires updating and finds it in the development of new directions, styles, trends. In England, in the 1860-1870s there are a number of movements, including aestheticism, or aesthetic movement. Artists - Aesthetes were considered impossible to continue working in accordance with the classical traditions and samples; The only possible way out, in their opinion, was a creative search outside the framework of traditions.

The quintessence of the ideas ideas is that art exists for art and should not be aimed at morality, exaltation or something else. Painting should be aesthetically beautiful, but unmavable, not reflective social, ethical and other problems.

"Sleeping", Albert Moore, 1882

The origins of aesthetism were the artists who were initially supported by John Reskin, who were in the Brotherhood of Prerafaelites, who, by the beginning of the 1860s, abandoned the Moralizant ideas of Vecina. Among them - Dante Gabriel Rossetti and Albert Moore.

"Lady Lilith", Dante Gabriel Rossetti, 1868

In the early 1860s, James Whistler moves to England and becomes friends with Rossetti, who heads the group of Estetov.

"Symphony in white # 3", James Whistler, 1865-1867

Whistler is deeply penetrated by the ideas of aesthetes and their art theory for art. To the lawsuit filed by John Reskin in 1877, Whistler attached the manifesto-aesthet artists.

Most of their paintings Whistler did not sign, but painted instead of a signature, organically intertwined it into the composition, - Whistler did it not only during the period of extracting aestheticism, but also in the continuation of all creativity. Also, one of the first artists, he began to paint the frame, making them part of the paintings. In the picture "Nocturne in blue and gold: the old bridge in Buttercy" he posted a "branded" butterfly in the pattern on the frame frame.

Other artists who have perceived and embodied the ideas of Estetov - John Stanhuup, Edward Bern-Jones, some authors also refer to the aesthetes of Frederick Leiton.

“ Pavonia” , Frederick Leighton, 1859

The difference between aesthetism from impressionism

And aestheticism, and impressionism arise at approximately the same time - in 1860-1870; Estheticism arises in England, impressionism in France. Both the other is an attempt to move away in painting from Academism and classic samples, and in that and in another it is important to impression. Their difference is that aestheticism transformed the impression on a subjective experience, reflecting the subjective vision of aesthetic image by the artist, and impressionism transformed the impression in the reflection of the momentary beauty of the objective world.

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The article discusses the principles of formation and functioning of the artistic picture of the world in the context of human spiritual and aesthetic values. It is determined that as a result of the projection-refraction of aesthetic values \u200b\u200bin art, the artistic picture of the world acquires the quality of a cognitive instrument, a pragmatic resource governing public relations, norms and values. The coordinator here is the artist, expressing simultaneously installing a mental culture and the author's concept of value. As a result, there is a variety of subject matter of ideological and aesthetic assessments on various social issues related to the life of a specific mentality. Thus, the aesthetic consciousness in society adheres to mental plants, but at the same time manifests itself through the multigid of the interpretations of ideals and the value principles of the subjects of culture. As a result, the artistic picture of the world of society is built on the manifold of the copyright artistic and aesthetic expression. The author comes to the conclusion that the integrity of its model depends on the degree of changes in the aesthetic installations in society.

subject-object factor

human life

sociocultural space

functioning of the artistic picture of the world

worldview values

spiritual and aesthetic values

aesthetic consciousness

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In modern studies, issues of the state of art, the path of its development worry specialists from different areas of knowledge. The main question here is the worn Hamletovskoye "to be or not to be". It is due to the contrasts of the modern world, manifested through the variety of forms in human activity, and those squall of information that is not always comprehended, but nevertheless starts to penetrate everywhere. At the same time, the verge of the spiritual and moral values \u200b\u200bof society erased, the problems of the potential of the holistic content of culture arise. All these processes are clearly reflected in the modern artistic sphere. She appears that vertex, comprehending, which, you begin to understand what is happening not only in art, but also in a separate society and in the world, since it is global today, and therefore transparent in his manifestations. Today, the problemability of art is due to a sharp contrast for the ratios of classical and innovative forms in reflection. In the works of V.V. Bychkov on aesthetics marked the certainty that not all modern creative products applying for artisticity should be called art, individuals belong only to art practitioners. In fact, such a distinction already has nothing but a search for support in modern cultural chaos, and not only artistic. First of all, this is the search for the rod in what is behind the art. And today is the path of determination, alignment of accents in the values \u200b\u200bof spiritual content in culture. At the same time, the spiritual atmosphere in society is always important for the normalization of the relationship in it in it. The special significance of the artistic in the context of cultural time notes by K. Jung, saying that this reflection "brings with him what the most modern ... spiritual atmosphere needed. This significance is due to the fact that the values \u200b\u200bof artistic order as a result of human creativity directly conjugate with its aesthetic and ideological values.

The purpose of the article: Determine the principles of the influence of aesthetic values \u200b\u200bon the formation of the artistic painting of the world.

The process of artistic reflection of the world is closely associated with aesthetic perception and aesthetic consciousness, which is considered by A.L. Andreyev as "spiritual ability to give objects and phenomena aesthetic assessment, form aesthetic attitude towards them and judge about their aesthetic advantages." In turn, the judgment on items always implies a comparison where certain benchmarks are taken as the basis. In aesthetic context, this installation is ideal as a beautiful, sublime. A man's desire for the better, a certain dream about the more perfect, spiritually filled with it. Through the historical manifestation of art monuments, we observe how the aesthetic attitude to the world has developed value ideas about what is excellent or sublime, and what - ugly, anti-systhetic. In our opinion, this alignment in the assessment of the real world and the cultural products under the influence of sociocultural transformations did not disappear. He remained organic to perceive the world due to the fact that in such a contrasting, antinea assessment we get a glance on things and phenomena capable of coordinating and organize our attitude towards them, direct vital action. Therefore, the aesthetic attitude of a person to the surrounding reality is considered as a value attitude. Aesthetic assessment correlates with the values \u200b\u200bof ideological and sociocultural order, when a system of values \u200b\u200bof a certain culture covers all its space and activities of a person who belongs to the scope of art. This confirms in his study V.I. Wolves: "The axiological approach to art is fully consistent with his social, aesthetic, cognitive entity, for art approves a public aesthetic ideal through artistic and figurative reflection and valuation of reality." On the basis of the association of art with the aesthetic activity of a person, its polyfunctional manifestation of in society arise, the ability to reflect different areas of this activity.

So, the feature of the aesthetic sphere is to accumulate spiritual and moral values \u200b\u200bfor a person in society. Therefore, when promoting these values, it also takes on the role of an indirect cognitive toolor intended for regulating value reference points. Since the artistic is intended to reflect the aesthetic content of mental culture, respectively, art in this context receives the quality of the phenomenon with a resulting and statement order. Thus, it reflects and promotes the purpose of aesthetic in society through a variety of artistic forms. Aesthetic, reflected in art, is negatively projected on the artistic picture of the world. Like a picture of the world, it represents the quintessence of human relations to the world in the form of her artistic and aesthetic interpretation. Therefore, the model of an artistic attitude to the world as a derivative of the picture of peace and art, in our opinion, should be considered in the aspect of aesthetic cognitivism, which determines the significance of artistic: 1) as a form of knowledge, 2) as a regular-pragmatic resource, 3) as a permissor of the degree of decision relationships in society. This approach allows you to streamline views on artistic processes, systematize them through the concept of a holistic model of the artistic picture of the world. Specifically, its systemicity is built in the reconstruction of art, more precisely, when promoting works of art to identify the painting of the world, which is laid in their foundation. The mechanism here is entirely aimed at identifying a person's attitude to the world hidden in the iconic symbolic system of art. In its content, aesthetic worldview freely interacts with the rationality of ideological formations, respectively, its structure is based on the relationship of two types of categories: philosophical-world-rise and artistic and aesthetic. Through these categories, the nature of aesthetic attitude towards peace, ideals and norms for man is expressed.

At the same time, the aesthetic values \u200b\u200bthat have been reflected in the artistic picture of the world, indirectly fulfill the role of regulators of relations in mental culture. They help the preservation of unity in the system of subjective-object-subject connections and are focused on resolving contradictions in the structure of the overall integrity of relations in society, assuming that the preservation of differences in relations between the subject and the object contributes to the exit to the conscious organization of their unity and compliance. The object-object aspect is closely related to the creative manifestation of a person, with a factor of its substantial influence on the internal processes of culture, on its spiritual and aesthetic changes. Artistic processes are a kind of barometer of what is happening in society. At the same time, the activity of transformations here depends on the force of the culture core, which holds the concept toosphere of worldview and aesthetic values. At the same time, the nucleus is surrounded by peripheral sociocultural space, which, by virtue of its binding to live life processes, mobile and changeable. The artist as a subject of culture is associated with these two sociocultural measurements. Its creative impulses at the level of fine intuition capture all relationships relationships. True creativity is true, therefore values \u200b\u200bprogressable acute perception through it, and actualize spiritual filling. So artistic, being a peculiar refraction of aesthetic in the field of art, embodies the "unity of the aesthetic contemplation of peace and artistic talent, implemented in the work of art." The personality of the artist, its ideological culture determine the power of its impact on society, the ability to assume the role of a regulator in the system of these ties. Accordingly, the beginning of the creation of an artistic picture of the world is directly the creative process of the artist. The artist gives an assessment of reality phenomena through the prism of aesthetic values, when facts, life events are reflected at the angle of view and concepts. The work serves as a conductor of its value installations and actualizes aesthetic experiences. Unite mechanisms for artistic embodiment of the systematization of the norms are presented in the traditional forms of literary work. Based on the observation of G.G. Supigesova, "Literature (as well as a ritual) can be considered as a norm-based structure." The rules here are introduced as a result of the punishment of negative and the remuneration of positive. Thus, the situation is arranged in favor of the input norm, where the entire random is sorgated in the text during the development of the plot. Based on the specific characteristics of heroes, the author's assessment of the circumstances and other is formed by the system of views. The system view of the author formed in the works is reconstructed using an artistic painting of the world.

When considering the artistic picture of the world as a battery of aesthetic consciousness in a sociocultural space, we primarily face a diverse field of interests: on the one hand, it is one - at the level of a holistic society, on the other - twoopolar - at the level of the author's subject and the recipient entity, and At the same time multipolar and multidimensional - taking into account the fact that there are many subject assessments in society.

At the general social context level, the value attitude is based on the presentation scheme about the perfect, ideal or, on the contrary, not corresponding to these ideals. So, works of art in society gain value for a person as it is included in the process of its social, correlated with his spiritual needs, goals, with the idea of \u200b\u200baesthetic ideal. On this basis, the author's artistic picture of the world will represent a socially deterministic artistic taste and aesthetic assessment. But one of the relevant researchers today was the question of how socially affecting the freedom of copyright, as far as the ideas and taste of the author are agreed with the ideals of society, with the evaluation requirements of the Company, which are established for the artistic and aesthetic reflection of the world. In this case, the policy existing in society always seeks to subordinate the artistic sphere as a sphere of powerful impact on a person. But, as a rule, true artists do not want to lose their own in creativity. The theme is political can be related to the artist if he shares her ideology or, on the contrary, seeks to resist her. In classical works, legal values \u200b\u200band relationships became the subject of figurative comprehension very often. The artist, in turn, aims to ensure that in the framework of identity with society, it is openly interacting with him. Batterying the thoughts and the ministry of society from the inside, he is a kind of harbinger of what is happening. For the artist, the desire to be heard, see, understood, i.e. Together with him empathy. He faced a recipient person who is also interested in determining his social position. Therefore, in the early 1970s. Analysts of art noted that the artist increasingly acts as a researcher of changing social processes. In turn, sociological studies turn to a specific ideological and artistic content of works of art as a specific material with the aim of opening the trends of the spiritual development of the individual and society.

Another position is a two-polar level, where the formation and functioning of aesthetic consciousness in sociocultural space is carried out according to the principle of the dual expression submitted by the subject as the author of the work of art and the recipient entity. According to A.N. Tolstoy, "perceiving the art of the same Creator as Giving it." On this basis, the artistic picture of the world is formed on the combination of the aesthetic values \u200b\u200bof society and the author. But it already functions at the recipient level, which are members of this society or representatives of other cultures. Through contacts with art, they are all attached to the aesthetic values, of course, in the measure of their abilities to this kind of perception. It should be noted that the position of the recipients can be revealed only on the basis of documents: memoirs, private letters in which somehow affect the art of their time. The attitude to modern art phenomena can be found in contemporaries from direct communication and on the basis of special techniques that take into account sociological aspects. For example, as part of a dialectical approach, social research is based on quantitative and systemic methods. The first method summarizes the quality of personal or social artistic taste under the "A combination of discrete assessments of art, judgments about artistic values." The second method represents the artistic taste as a structural element of aesthetic consciousness, which serves "in social systems of various levels: society as a whole - social groups and interlayers - an individual included in this or that social community." At the same time, the individual does not dissolve in social, since the study of certain public relations of people means the study and "real personalities, from which these relationships are also composed."

In general, aesthetic attitude is associated with the problem of art perception and communicability of art and, as a result, with the definition of social functions of the artistic picture of the world. Therefore, this category is not only a ficker of artistic processes in society, but also the expressive of his ideology. There is an example when theorists in the 1970s. There was a dual position in relation to the role of art in society. So, the supporters of unrealistic flows were the opinion that art is non-communityless or has a small share of communicability, since a small number of people communicates with genuine art and this is usually the elite of society. At the same time, commercial art is focused on the unassumability of aesthetic tastes, respectively, serves as a means of spiritual devastation. Supporters of realistic tendencies, on the contrary, believe that realistic art is openly opened by the viewer and seeks to convey their value attitude to the world to him, taking into account various tastes and relations. In the work "Time and Life of Literary Works" M.B. Strapchenko reveals an important aspect in perception and evaluation of artistic works. In particular, he indicates the emergence of a large number of research works of the so-called petroleous historical and empirical-commentative sense, which cause "dissatisfaction, so to speak, a clean socio-genetic study of literature." At the same time, the author himself raises the problem of the artistic and aesthetic effect on the recipient, on its assessment and emphasizes "the need for a broad study ... living functioning" of artistic works in sociocultural space.

Continuing the idea of \u200b\u200bliving functioning, it should be consistent with the important aspects of the formation of the work of art in terms of its social relevance. It is determined primarily by the tie of the artist with a sociocultural context, which is structurally represented by two levels: "social space" and "vital world." The first is a "collectively organized, ordered system", where the individual component depends on the activity of a person as a subject of society. The subject of the subject component in the content of culture is born at another level - in the space of a living world, where "hidden the horizon of all the meanings and the possibilities of consciousness, a priori structures of the amplifies, of which then grow culture values." These layers in the space of culture surround the subject, become basic for its picture of the world, which includes in its integrity, the diversity of forms and methods of knowledge. " Accordingly, they receive refraction in the artistic picture of the world. Life world is a living soil for works of art. When the artist, in contact with this world, acts in harmony with his inner conviction in the transfer of life truth, raises and summarizes the meanings of this world, the work reaches the level of such art vertices that explode even the consciousness of famous artists. And here their position is defined as the position of the recipients of a special category, representing a different cultural time. So, in Hush. Voltaire, characterizing the creativity of V. Shakespeare, declares the heterogeneous manifestations of his work: on the one hand, he calls him the father of the English tragedy, and, on the other, the father of the barbarism: "His high genius, genius without culture and without taste, created a chaotic theater" . In our opinion, the value of Shakespearesky creativity is that it is the artistic picture of the world in the open context of their creative globility, the creative method of the writer. He did not strive for refining life, its artificial eyepurivation, and combined all human contradictions in their high gusts and low-lying manifestations. From this Shakespeare gained strength. His creativity breaks the framework of familiar forms of expression of vital and aesthetic values. This is carried out by changing the space-time boundaries, the rhythm, when the social space with its established universal stations begins to openly invade the space of the living world, in which there is an expression of feelings, its own dynamics, etc. They are usually spontaneous. Therefore, Shakespeare is near the comedy and tragedy, the jungle and the wrong loss. Here we meet with a visual example of how chaotic is manifested through the author's attitude to life and through the ratio of beautiful and ugly in art, but in unusual contrasting, emotionally aggravated form. The Creativity of Shakespeare turned out to be a sign, and his assessment received its development in history. For romantics, his works became a model of "unusually bright, bold art, rejecting all kinds of canons, biased scholastic rules." At the same time, Romantic Bayron "quite critically referred to Shakespeare." Also critically referred to him at one time L.N. Tolstoy, exposing it with a sharp criticism. And all this happened because Shakespeare was a writer outside the tradition. But this does not mean that his works can not be called a holistic vision of the world. His creativity is the artistic picture of the world, built on the integrity of sensual perception, so it became a sample of such artistic images that do not have a certain cultural space and time, they live beyond these measurements by the standards of universal. Of course, the Voltaire, who holds the classic canons of the Epoch of Enlightenment, was not understood by the free output of contrasting life intentions to the artistic and aesthetic. In turn, the assessment of Voltaire expresses the position, predetermined by time and views on arts that existed in the Epoch of Enlightenment. The ideas of enlighteners (Voltaire, Rousseau, Didro, Lessing) were aimed at raising a new citizen. Art, in their opinion, should focus on reproducing the reality of life and imitating the "natural nature". The enlighteners sought to withdraw art from the framework of classicism and send it along the path of realistic trends. The task of overcoming the contradictions between elite and democratic in art, they were allowed through the sphere of education of taste. But, judging by the review of Shakespeare, Volter-enlightener was not ready for open realism and himself was in the border situation, between elitism and democracy, so the revelation of Shakespeare just shocked him. Shakespeare's artistic reflection of the world is intently and exacerbily contrastful due to the fact that it is created by classical standards of aesthetic values \u200b\u200b- from ugly to the beautiful. Through its imagination, he makes an active aesthetic value content, awakening and filling a human spiritual world in society. This example clearly shows that the artistic picture of the world is able to exist outside the time and its ideological settings due to the fact that the true artist sees further and feels deeper than its time. At the same time, philosophical ideas that interpretation of the development of art did not always have been pretended for the development of artistic due to certain dogmatism and belonging to the elite sector of culture.

So, the principles of formation and functioning of the artistic picture of the world are associated with the context of human spiritual and aesthetic values. In turn, aesthetic consciousness is built on the synthesis of multi-valued ideals and value principles of cultural subjects. As a result of the projection-refraction of aesthetic values \u200b\u200bin art, the artistic picture of the world acquires the quality of a cognitive tool, a pragmatic resource governing public relations, norms and values. The coordinator here is the artist, expressing simultaneously installing a mental culture and the author's concept of value. Due to the multidirectional position of the positions of the artistic picture of the world becomes multivalued. As a result, there is a variety of subject matter of ideological and aesthetic assessments on various social issues related to the life of a specific mentality. As a result, aesthetic consciousness is built on the synthesis of multi-valued ideals and value principles as invariant in culture, respectively, the artistic picture of the world of society becomes multivalued. The aesthetic assessment lies complex content, where the estimates from the point of view of moral, socio-political and other ideals are revealed simultaneously. When preserving differences in relations between the subject and the object, exit to the conscious organization of their harmonious unity and compliance. The author comes to the conclusion that the integrity of the model is based on invariant models, while stability depends on the degree of changes in the aesthetic installations in society.

Reviewers:

Svitin A.P., Ph.D., Professor, Professor of the Siberian Federal University, Krasnoyarsk;

Mineev V.V., Ph.D., Professor, Professor KGPI. V.P. Astafieva, Krasnoyarsk.

Bibliographic reference

Musat R.P., Musat R.P. Artistic picture of the world: aesthetic aspects // Modern problems of science and education. - 2015. - № 2-1.;
URL: http://science-education.ru/ru/article/view?id\u003d21325 (date of handling: 07/09/2019). We bring to your attention the magazines publishing in the publishing house "Academy of Natural Science"

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.

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 may include an element of the estate of the estate, the artistic relationship is specific 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 rejunctionable Word. .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." .1 Therefore, in the romantic picture of MIF and the artist who creates aesthetic images, is distinguished from his creation, criticizes it, remaining, in his opinion, free and independent.

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 "

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