Modern problems of science and education. Aesthetic aspects of the physical picture of the world Aesthetic pictures

art- a set of plastic arts, represented by painting, graphics and sculpture, reflecting reality in visual images.

Painting- a type of fine art, the works of which are created using paints applied to the surface.

Fine art is based on the creative ability of the human hand, controlled by the brain and eyes, on the direct, immediately visible identity of the image and the object, the image and the depicted. This identity is ideal. It is also a product of a person's ability, historically developed in practical activity, to embody an ideal image in material form, to objectify it, and to make it available for perception by other people.

The image, carrying in itself human subjectivity, carries a generalization.

An artistic image is always a visible semblance of an ideal image that has arisen in the mind of a person and is embodied in a certain material. Fine art is a specific path through the visible to the essence, through contemplation to reflection, through the individual and accidental to the universal and natural. The image is a special way of artistic generalization, revealing in the creation of a visible similarity of an image and an object the meaning of life, the artist's ideal, which carries objective truth accessible to the eye.

Painting as an art form is distinguished by such features as figurative versatility, sensual specificity associated with the reflection of the whole diversity of reality through directly visible images, recreation in paints on a plane.

The main means of expressiveness of painting is color. In the history of European culture, color has often been given symbolic meaning: for example, black sorrow, red greatness or suffering, purple humility and remorse, green hope or beauty. These trends developed especially brightly during the Middle Ages. A new understanding of the possibilities of color is associated with the development of abstractionism (see the theory of V. Kandinsky).

It is believed that painting is a flat art. However, this statement is conditional, since the painting of some directions in history is distinguished by the desire for volume. Suffice it to recall some of the ideas of Cubism (especially the late period), Renaissance artists (the search for perspective) or the features of the image in Ancient Egypt (the Egyptians portrayed a person as if from different points of view, which brings painting closer to the volumetric sculpture).

Types of painting: monumental and decorative (wall paintings, plafonds, panels), easel (paintings), decorative (theater and cinema scenery), decorative painting of objects, icon painting, miniature (illustrations, portrait), diagram and panorama.

Means of expressiveness in painting are considered: color, drawing, composition, texture, chiaroscuro, type of material, type of technique, today it is also the design of the picture (i.e. its frame, wall, or where the picture is exhibited), etc.

Genres in painting are: portrait, landscape, still life, animalistic, lyrical, historical, battle, everyday life, secular, etc.

The main technical varieties: oil, water on plaster raw (fresco), dry (a seco), tempera, glue, wax, enamel, mosaic, stained glass, watercolor, gouache, pastel, ink.

Graphics(lat. I write) - a type of fine art based on drawing and printing an artistic image.

Types of graphics: easel (drawing, printmaking, splint), book and newspaper and magazine (illustrations, design), applied (postage stamps, bookplates) and a poster.

Means of graphic expressiveness: contour line, stroke, line, rhythm of composition, color spot, local color, color, background, smear, texture, surface of objects being recreated.

Sculpture(lat. - I cut out, I cut out) - a type of fine art, the works of which have a three-dimensional, three-dimensional shape and are made of solid or plastic materials.

Sculpture shows a certain affinity to architecture: it, like architecture, deals with space and volume, obeys the laws of tectonics and is material in nature. But unlike architecture, it is not functional, but pictorial. The main specific features of sculpture are corporeality, materiality, laconicism and versatility.

The materiality of sculpture is due to a person's ability to sense volume. But the highest form of touch in sculpture, bringing it to a new level of perception, is the person's ability to "visually touch" the form perceived through sculpture, when the eye acquires the ability to correlate the depth and convexity of different surfaces, subordinating them to the semantic integrity of all perception.

The materiality of sculpture is manifested in the concreteness of the material, which, having acquired an artistic form, ceases to be an objective reality for a person and becomes a material carrier of an artistic idea.

Sculpture is the art of transforming space by means of volume. Each culture brings its own understanding of the ratio of volume and space: antiquity understands the volume of the body as an arrangement in space, the Middle Ages - space as an unreal world, the Baroque era - space as an environment captured by the sculptural volume and conquered by it, classicism - the balance of space and volume and form. The 19th century allowed space to "enter" the world of sculpture, giving the volume fluidity in space, and the 20th century, continuing this process, made sculpture mobile and passable for space.

The laconicism of the sculpture is associated with the fact that it is practically devoid of plot and narrative. Therefore, it can be called the exponent of the abstract in the concrete. The ease of perception of the sculpture is only a superficial appearance. The sculpture is symbolic, conventional and artistic, which means that it is complex and deep for its perception.

The world of sculpture is represented by a wide variety of types and genres:

small plastic (ancient glyptics - carving on semi-precious minerals; bone carving; figurines from different materials, amulets and talismans; medals, etc.);

small sculpture (chamber figurines up to half a meter of genre theme, intended for interiors and designed for intimate perception);

easel sculpture (a statue intended for all-round viewing, close to the real dimensions of the human body, autonomous and does not require connection with a specific interior);

monumental and decorative sculpture (reliefs, friezes on the walls, statues on pediments, Atlanteans and Caryatids, works intended for parks and squares, fountain decorations, etc.),

monumental (gravestones, monuments, monuments).

The most popular genre in sculpture is portraiture. The development of the portrait genre in sculpture is almost parallel to the idea of ​​the role of personality in history. Depending on this understanding, the portrait becomes either more realistic or idealized. The forms of portraiture in history were varied: mummy masks, a herm (a four-sided pillar with a portrait head) among the Greeks, a Roman bust. The portrait began to be divided according to its purpose: ceremonial and chamber.

The animalistic genre develops in sculpture even earlier than the portrait. But it gets its real development with the collapse of anthropocentric ideas about the world and a person's awareness of the single materiality of the world.

A special place in sculpture is given to the genre of a fragment - individual parts of the human body. A sculptural fragment arises on the basis of collecting fragments of antique statues and develops as an independent phenomenon with new artistic and aesthetic possibilities for expressing content, in which there is no given plot, but only a plastic motive. O. Roden is considered the founder of this genre.

The historical genre is associated with the reflection of specific historical events and the story of their participants. Most often, this genre realizes itself in monumental forms.

Means of expressiveness of sculpture: construction of a volumetric form, plastic modeling, development of a silhouette, texture, material, chiaroscuro, sometimes color.

The aesthetics of fine art lies in the ability to visualize perfection. It was in visualization that a person's feeling of beauty arose. A person's visual perception of beauty is based on his ability to correlate directly perceived with an already established idea of ​​perfection. The aesthetic experience of the image is filled with variety like no other.

Full text of the dissertation abstract on the topic "Aesthetic picture of the world and the problems of its formation"

As a manuscript UDC 18

Suvorova Irina Mikhailovna

Aesthetic picture of the world and problems of its formation

Saint Petersburg 2006

The work was done at the Department of Philosophy

GOU VPO "Karelian State Pedagogical University"

SCIENTIFIC DIRECTOR-

Candidate of Philosophy, Associate Professor OVCHINNIKOV YURI ALEXANDROVICH

OFFICIAL OPPONENTS:

doctor of philosophical science,

Professor PROZERSKY VADIM

VIKTOROVICH

PhD in Philosophy

SAZHIN DMITRY

Valerievich

LEADING ORGANIZATION - GOU VPO "Petrozavodsk

State University"

The defense will take place on June 29, 2006 at - £ £. Hours at a meeting of the Dissertation Council D.212.199.10 for the defense of dissertations for the degree of Doctor of Philosophy at the Herzen Russian State Pedagogical University at the address: 197046 , St. Petersburg, Malaya Posadskaya st., 26, room 317.

The dissertation can be found in the Fundamental Library of the Russian State Pedagogical University. A.I. Herzen

Scientific Secretary of the Dissertation Council, Candidate of Philosophy, Associate Professor

A.Yu.Dorskiy

GENERAL DESCRIPTION OF WORK

The dissertation research is devoted to the philosophical and aesthetic understanding of the aesthetic picture of the world as a universal category of aesthetics.

The relevance of the study is due to the problem of the formation and collapse of cultural paradigms and the resulting changes in the aesthetic consciousness of society and humans in the modern world. In recent decades, significant changes have taken place in the social and spiritual spheres of society. A dynamically developing information society recognizes the highest value of a person who has a high degree of freedom, independence and responsibility. The change in the geopolitical situation, the change in the technological order, 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 research topic is due not only to the objective process of the cultural and historical movement of mankind, but also to the dynamics of the personal formation of a person in the modern complex and unpredictable world. According to scientists neurophysiologists (Metzger, Hospers) 1, in the personal development of each person 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 to experience the so-called “joy of recognition” in perceived forms. receive aesthetic pleasure. Therefore, all objects of the surrounding world are subordinated to aesthetic assessment, which forms in a person the ability to perceive the environment in an orderly manner and remember the perceived, i.e. “Holistic vision should include an aesthetic principle.” 2 This factor of aesthetic perception leads to an active search for information and significantly increases the social adaptation of a person in the world around him. Consequently, the formation of a single integral universal aesthetic picture of the world is a necessary condition for a person's existence in the world.

In theoretical terms, one of the modern tendencies is to put forward, in addition to traditional classical concepts, a multitude of non-classical, sometimes anti-aesthetic (from the point of view of the classics) categories (absurdity, cruelty, etc.). Such a polarization of aesthetic assessments of the surrounding reality, expressing a new vision of the world, requires the introduction of universal philosophical concepts into the categorical apparatus of aesthetics, uniting all the variety of phenomena and images of modern society, art and nature. An important role here is played by the category of the aesthetic, the development of which led to the appearance in aesthetics of the research principles of relativity, polysemy, polymorphism of values, as well as the tendency of aesthetics to grow into hyperscience, which unites philosophy, philology, art studies, cultural studies, semiotics, synergetics and global studies.

Similar tendencies of generalization and deepening of the ideological and methodological foundations of cognition are manifested in all areas of humanitarian and natural science thought. So, at the beginning of the 20th century, in connection with the problems of the world outlook crisis in physics and philosophy, the concept of a universal picture of the world began to take shape3, which later received a multifaceted development at the philosophical and theoretical level.4

Scientists from different branches of science devoted their research to certain areas of reality, formed a specific idea of ​​one or another part of the world, and as a result described special, or particular scientific, pictures of the world. It turned out that scientific theoretical knowledge is not a simple generalization of experience data, but a synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, grace, harmony of theoretical constructions). A scientific theory reflects physical reality only then, Einstein believed, 5 when it possesses inner perfection. Consequently, in the formation of the physical, astronomical and other scientific pictures of the world, there is also an emotional-figurative way of knowing reality. Thus, in the aesthetic assimilation of reality, all parts and properties of a phenomenon are recognized in their relation to its whole and are comprehended through the unity as a whole. Here all the perceptible features of the parts of the phenomenon and their quantitative relationships appear in their subordination to the whole. To apply its own measure to a phenomenon is to comprehend the wholeness in it in the totality of all properties, it means to comprehend aesthetically. Such comprehension can have positive and negative results, which correlates with aesthetically positive and negative categories.

In practical terms, it can be noted that the aesthetic always stimulates a person to penetrate into his essence to the utmost, to look for his deep meanings, and well-known aesthetic categories act as tools. "The theoretical development of a scientific aesthetic picture of the world" will contribute to "a methodologically reliable and heuristically rich scientific base for the formation of stable and broad aesthetic value orientations." Many researchers emphasize that the development of a picture of the world is especially relevant today, when human civilization has entered a period of bifurcation breakdown and a change in the cultural paradigm. At the same time, it is noted that the solution of this problem is impossible without attention to the aesthetic principle7. This issue is of particular importance in the field of the formation of the worldview of future specialists8, the practical tasks of education in connection with the reforms in this area emphasize the relevance of the chosen topic.

The urgency of the problem, the inadequacy of its theoretical development and the need to determine the status of the concept identified the topic of research: "Aesthetic picture of the world and the problems of its formation."

The degree of elaboration of the problem

The concept of a picture of the world in philosophy was the subject of research for representatives of various philosophical trends (dialectical materialism, philosophy of life, existentialism, phenomenology, etc.). The development of this philosophical problematics showed that the general picture of the world is not described within the framework of one special science, but each science, often claiming to create its own special picture of the world, contributes to the formation of 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 is widely developed in the works of S.S. Averintsev, M.D. Akhundov, E.D. Blyakher, Yu. Borev, V.V. Bychkov, L. Weisberger, E. I. Visochina, L. Vitgenshtein, V. S. Danilova, R. A. Zobov, A. I. Kravchenko, L. F. Kuznetsova, I. L. Loifman, B. S. Meilakh, A.B. Migdala,

A.M. Mostepanenko, N.S. Novikova, Yu.A. Ovchinnikova, G. Reinina,

V. M. Rudnev, N.S. Skurtu, V. S. Stepin, M. Heidegger, J. Holton, N. V. Cheremisina, I. V. Chernikova, O. Spengler.

The worldview has always been understood as a set of views and ideas about the world, where the aesthetic relations of a person to reality are also reflected. Therefore, the concept of a picture of the world in connection with art and aesthetic consciousness was a logically natural fact in the development of theoretical thinking. So, in the study of the history of aesthetic thought, the most general ideas about the world in a particular historical epoch were often reconstructed, which were often defined by historians as a picture of the world inherent in the consciousness of a particular culture. Similar ideas in ancient aesthetics were shown by A.FLosev, in medieval culture - by A.Ya. Gurevich, in Russian aesthetics of the second half of the 18th century - by A.P. Valitskaya.9 At the turn of the 1970s - 80s, the concept of an art painting appears and is actively discussed world 10, images and models of the world in various national cultures are explored by G.D. Gachev, paying special attention to works of literary creativity.

The term "aesthetic picture of the world" is used in their works by Y. Ovchinnikov (1984) and E. D. Blyakher (1985), 11. where a number of research tasks on the problem are set and important aspects of the new concept of aesthetics are formulated. VV Bychkov introduces a significant change in the understanding of the subject of aesthetics, defining it as the science of "the harmony of man with the Universe." sense of one of its most important refractions.

The second group of research literature - works devoted to the philosophical and art history analysis of the art of different cultural eras and works of art - is so large that it is difficult to

represent a simple listing of names. The works of T.V. Adorno, Aristotle, V.F. Asmus, O. Balzak, M. Bakhtin, O. Benesh, G. Bergson, V.V. Bychkov, A.P. Valitskaya, Virgil, Voltaire, G.V. F. Hegel, Horace, A. V. Gulyga, A. L. Gurevich, M. S. Kagan, V. V. Kandinsky, I. Kant, Yu. M. Lotman, A. F. Losev, M. Mamardashvili, B. S. Meilakh, M. F. Ovsyannikova, H. Ortega-i-Gasset, Petrarch, Platon, V. S. Soloviev, V. Tatarkevich, E. Fromm, J. Heyzengi, V. P. Shestakov, F. Schlegel, F. Schiller, U. Eco.

The third group of sources - the latest research in the field of aesthetic innovations and synergetics of culture - works by V.S. Danilova, E.N. Knyazeva, L.V. Leskov, N.B. Mankovskaya, L.V. Morozova, I. Prigogine, I. Sh.Safarova, V.S.Stepin, L.F. Kuznetsova.

It should be noted that the research undertaken in this work, based on the data obtained by philosophers, culturologists, art historians, synergetics and globalists, substantiates its own vision of the problem of the aesthetic picture of the world, which was touched upon in the works of predecessors. A number of works contain a characteristic of certain important aspects of the concept of a picture of the world, its features and varieties, as well as the problems of its formation in specific historical epochs. However, a number of historical and theoretical aspects of the problem remain outside the research interest.

Object of research: the aesthetic picture of the world as a form of universal comprehension of reality.

Subject of research: the formation of the aesthetic picture of the world in theoretical and historical aspects, as well as those semantic and structural changes in the aesthetic picture of the world as a form of aesthetic knowledge of the world, which take place in its history.

The purpose of the research is to comprehend the concept of the aesthetic picture of the world as a universal aesthetic category, as a way of describing the aesthetic expressiveness of the surrounding reality through the prism of the categories of aesthetics.

Hypothesis: The study suggests that the aesthetic picture of the world can be a universal philosophical and aesthetic category (as a form of theoretical generalization) and in many aspects have a methodological and educational significance. This is due to the tasks of developing humanitarian education and the need to form a holistic worldview of a modern person. Within the framework of this study, not only a theoretical analysis is carried out, but also an experimental study of the issue.

Research objectives:

The research sets itself the following tasks: based on the analysis of the philosophical, aesthetic and scientific literature on the topic under study, to consider the formation of the concept of an aesthetic picture of the world;

consider the relationship between the aesthetic picture of the world and the scientific and artistic picture of the world;

to analyze the concept of the aesthetic 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 picture of the world and identify the characteristic features of their formation at different stages of the history of culture (Antiquity, Middle Ages, Renaissance, Classicism, Enlightenment, romanticism and symbolism, naturalism and realism);

Consider the specifics of the formation of the aesthetic picture of the modern world, its structural and substantive differences from previous pictures of the world; to establish its role in the formation of a person's ideas about the surrounding reality.

Research methodology The thesis employs philosophical-aesthetic, historical-theoretical, synergetic research methods.13 The work uses elements of comparative-historical analysis, the study of historical ideas is combined with the study of their socio-cultural context. The sources of this research are the works of philosophers and aesthetics of the 18th - 21st centuries, who dealt with the problem of the aesthetic picture of the world; works devoted to the theory and history of art, global problems of the modern world, as well as works that analyze specific works of literature, fine, musical, multimedia art; ideas and images related to different eras and most vividly expressing them.

Scientific novelty of the research Scientific novelty of the research consists 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 it to the study of the history of artistic culture and aesthetic thought; in discovering the characteristic features of the formation of historical pictures of the world and their successive connection; in determining the specific status of the aesthetic picture of the world as a concept that refers both to the scientific and to the alternative worldview.

For the first time in the light of the ideas of modern aesthetics and synergetics, the author analyzes the originality and ambiguity of the aesthetic picture of the modern world, which is due to the special conditions of its formation in the context of the systemic crisis of society and culture. At the same time, the results of the study emphasize the enormous importance of the aesthetic in the formation of a new world outlook, capable of creating the foundations for mankind to come out of the impasse.

The theoretical significance of the study

The main conclusions of the dissertation research allow us to assert that the aesthetic picture of the world is included in aesthetics as one of the universal categories of modern science and sets a new perspective for its development as a philosophical science. The materials and conclusions of the dissertation can be used in further research in philosophy, aesthetics, cultural studies, art studies in the development of problems of historical and theoretical orientation.

The practical significance of the study

The research results can be used when reading the relevant sections of courses on philosophy, aesthetics, special courses on the history of pedagogy and the theory of education.

The main provisions of the dissertation submitted for defense:

1. Active development in modern science and philosophy of the concept of a picture of the world leads to the emergence of such a variety of it as an aesthetic picture of the world. Reflecting all the aesthetic diversity of reality in its integrity, the concept of the aesthetic picture of the world performs important scientific and ideological functions.

2. Being closely related to the very essence of the category of the aesthetic, the concept of the aesthetic picture of the world reveals its most important role in modern scientific and worldview search.

3. The historical formation of the aesthetic picture of the world takes place on the basis of a developing understanding of the world, while aesthetic categories provide a certain stability of the general trend in the history of ideas about the aesthetic expressiveness of the surrounding world, consisting in the desire to see the world harmoniously stable.

4. The main objects in the construction of an aesthetic picture of the world are nature, society and art; starting from the 18th century, science and aesthetics proper, which took shape as an independent philosophical discipline, played an increasing role in the formation of the aesthetic picture of the world.

5. The special role of science is manifested in the formation of a modern aesthetic picture of the world, in the creation of which a significant place belongs, in particular, to synergetics and globalistics.

Approbation of the ideas underlying the research The main provisions and conclusions of the dissertation are presented in a number of publications, and were also presented and discussed at regional conferences: "Management: history, science, culture" (Petrozavodsk, Northwestern Academy of Public Administration, Karelian Branch, 2004); "Management: history, science, culture" (Petrozavodsk, North-West

Academy of Public Administration, Karelian Branch, 2005); at the international conference "Reality of Ethnos 2006. The Role of Education in the Formation of Ethnic and Civil Identity" (St. Petersburg, 2006); as well as at the annual research conferences of the Karelian State Pedagogical University. The dissertation was discussed at a meeting of the Department of Philosophy of the KSPU and at the Department of Aesthetics of the Russian State Pedagogical University.

The structure of the dissertation: the content of the dissertation research is set out 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, a conclusion, a list of sources and literature on this topic, an appendix with the results of an experimental study.

In the Introduction, the relevance of the topic is substantiated, the object, subject, goal, objectives and methods of research are determined, a hypothesis is formulated, and the stages of dissertation research are revealed.

In the first chapter, "Aesthetic picture of the world in the system of philosophical worldview", the multifaceted aspects of the problem are characterized, the most significant questions for determining the initial theoretical positions are highlighted. In particular, the author considers the possibility of defining the concept of an aesthetic picture of the world within the framework of a philosophical and aesthetic worldview. The "prehistory of the emergence of this concept on the basis of domestic and foreign sources is investigated in detail, and attention is also focused on the special status of the aesthetic picture of the world."

The theoretical basis of the study was the works defining the concept of a picture of the world (S. S. Averintsev, M. D. Akhundov, L. Weisberger, E. I. Visochina, L. Vitgenstein, V. S. Danilova, A. I. Kravchenko, L. F. Kuznetsova, I. Ya. Loifman, B. S. Meilakh, A.B. Migdal, N.S. Novikova, G. Reinin, V. M. Rudnev, N.S. Skurtu, V. S. Stepin , M. Heidegger, J. Holton, N.V. Cheremisina, I.V. Chernikova, O. Spengler); considering significant problems associated with the aesthetic picture of the world (E.D.Blyakher, V.V.Bychkov, Yu.Borev, R.A.Zobov, A.M. Mostepanenko, Yu.A. Ovchinnikov). The works of these authors contain a characteristic of certain important aspects of the concept of the aesthetic picture of the world and the problems of its formation in specific historical epochs.

Humanity has developed two ways of cognizing reality - logical-conceptual and emotional-figurative, which interacted in a variety of ways on the historical path of their development and found their full embodiment, respectively, in science and art. If we take into account that the first generalized idea of ​​the world arose in an artistic form, as sensory-practical, and this type of representation persists at all stages of the development of human knowledge, we can assume that at first there was a syncretic, figurative-sensory form of cognition of reality, which means a historically artistic the picture of the world is older than the scientific one.

The study examines the concept of an artistic picture of the world, which should be understood as an integral system. artistic and imaginative ideas about reality, established by artistic practice. It is formed “on the basis of a combination of types of art, genre, and even one highly artistic work.” 14 In this context, B. S. Meilakh notes: “The artistic picture of the world is formed on the basis of the perception of many sources: works of literature, painting, music, cinema, theater, as well as under the influence of art research, critical works, thematic broadcasts of radio and television - in a word, from the totality of information, impressions, directly or indirectly related to art. ”15

The dissertation revealed that in the history of the development of art there was a change in artistic paintings depending on changes in ideas about a person, the discovery and development of new layers of reality, from the emergence of a new socio-psychological type of artist and depending on what knowledge was dominant. And yet, the authors listed above agree that the artistic picture of the world as a systematized panoramic view is created from those types of art, the works of those artists who have reached full maturity, classical forms, whose work constitutes the era. This means that it is not a mechanical summation of all works of all types of art of a given historical era, but a dialectical fusion of mature works of the most significant artists. In the artistic picture of the world itself, two main components can be distinguished: conceptual (conceptual) and sensually visual.

The conceptual component is represented by aesthetic categories, aesthetic principles, art history concepts, as well as fundamental concepts of individual arts. It is this conceptual component of the artistic picture of the world that is part of another, broader concept - the aesthetic picture of the world. The breadth of this concept is due, first of all, to the universality of aesthetic perception of all types of human activity.

The study of the concept of the aesthetic picture of the world made it possible to determine its constituent elements, which determine its specificity and functionality.

On the basis of the accumulated knowledge, people create for themselves ideas about the world, both at the level of individual consciousness and at the social level, and the task of cognizing the world is to express in complete purity the language of forms of that picture of the world, which is intended in advance for the existence of the person himself.

Analysis and generalization of the results of theoretical studies on the problem of forming a picture of the world made it possible to apply the philosophical and aesthetic method, as a result of which it became clear that the aesthetic picture of the world, combining the logical-conceptual and emotional-figurative principles of cognition, in

by virtue of these features, it has no analogues. It is a universal picture of the world (at the level of philosophy), covering aspects of the physical, mathematical, astronomical, linguistic pictures of the world that do not coincide and do not "overlap" each other. The considered ratio of the scientific and aesthetic pictures of the world made it possible to find out the specifics of the status of the aesthetic picture of the world.

In the logical and methodological aspect, the scientific picture of the world is a system of thinking, a methodological scheme for analyzing an object, a kind of matrix of scientific creativity, the basis of continuity in the development of scientific knowledge. Consequently, the aesthetic picture of the world can also be considered as a form of theoretical knowledge, representing the subject of research in accordance with a certain historical stage in the development of science, a form through which specific knowledge about objects of the world is integrated and systematized using scientific tools (in this case, aesthetic categories, concepts, relations). For this factor, the aesthetic picture of the world can be classified as one of the special ones. But according to the classification of the American scientist J. Holton, the aesthetic picture of the world can also be recognized as an alternative one, in which a significant indicator is the symmetry of themes and antithemes (the categories beautiful and ugly, tragic and comic, sublime and base), which occupy a similar structural place and perform the same function. as her opponent's topics. Its other characteristics are also in favor of such a status: a sensually-concrete form of knowledge, a unique and isolated nature of the results, a significant role of authority. Therefore, it is obvious that the aesthetic picture of the world, which is based on an emotionally-figurative way of knowing reality, can be recognized as an alternative picture of the world. Thus, the aesthetic picture of the world has features of both a scientific and an alternative picture of the world, far from the exact results of applied sciences, but close to the philosophical laws of knowledge of the world.

Among the many philosophical definitions of the picture of the world, one can sometimes find in one synonymous row "image of the world", "ideas about the world", "model of the world", "silhouette of the world", which greatly complicates the logic of the presentation of the problem. The study proves that the concept of "image of the world" is broader than the concept of "representation of the world", and in the aggregate they constitute a single concept - "picture of the world". It should be noted that the concept of "image of the world", in contrast to the concept of "picture of the world", is metaphorical and ambiguous, which complicates its use. In this regard, it can be assumed that the picture of the world is a fundamentally all-embracing structure, consistently linked into a single system. Only under these conditions, the concept of "picture of the world" acts as a universal category, reflecting those ideas about the world that are formed in the minds of people on the basis of all the achieved knowledge, on

at all levels and in all forms of world development throughout all stages of human development. As a result of generalization, it was found that:

a) the structural elements of the aesthetic picture of the world are micro-images and macro-images of nature, society and art;

b) the aesthetic picture of the world performs a number of functions:

Systematizing, distributes phenomena and images into a system of aesthetic categories;

Cognitive, represents a universal system of knowledge for the aesthetic assimilation of reality;

Research, reveals the aesthetic significance of certain ideas and representations of a given era; defines the most expressive images and phenomena;

Analytical, establishes the continuity and interdependence of aesthetic views and the reasons for their change; analyzes aesthetic fluctuations in nature, society and art and predicts the further bifurcation path to the attractor.

In the theoretical analysis of the aesthetic picture of the world, three large stages were distinguished: the picture of the world of pre-disciplinary science, or protoscience, disciplinary organized classical science and the modern post-classical scientific picture of the world. Each of these stages has its own specifics, which were in the process of historical analysis.

In the second chapter of the dissertation "Laws of the historical formation and development of the aesthetic picture of the world", based on theoretical principles, the main patterns of the formation of the aesthetic picture of the world at different historical stages of human development, as well as in the context of different layers of reality, were revealed.

The chapter presents the results of changes in the interpretation of aesthetic values ​​in the general picture of the world, the content of aesthetic categories, and the priority of these categories.

An analysis of the patterns of formation and development of the aesthetic picture of the world in the proto-scientific era of the period of antiquity revealed the description of the surrounding reality from the point of view of aesthetic categories, which was carried out not in aesthetic theory, but in artistic practice, philosophy, rhetoric, ekphrasis and other sciences. It was at this stage that the aesthetic picture of the world was formed as an emotional-figurative description of expressive objects and phenomena, united into a universal system of knowledge of the world.

An analysis of the aesthetic picture of the world of the Western Middle Ages revealed an integral system of expressive images, phenomena in art, society, nature, united by one idea - Christian. It was Christianity as a world religion that played a decisive role in the development of aesthetic thought in the Middle Ages. Just as in antiquity, aesthetics had the status of implicit, but unlike antiquity, the main aesthetic ideas

The description of the aesthetic picture of the Renaissance world absorbed the expressive images, ideas, representations that were developed during previous eras: imitation of nature (revered by Savonarola) and imitation of Antiquity (revered by Petrarch), which merged on the basis of the view that classical art itself was faithful adherence nature. The idea of ​​novelty and enjoyment of art entered the worldview of the Renaissance man with renewed vigor, but mainly, the idea of ​​exalting a person surrounded by aesthetically understood being.

Historical and aesthetic analysis revealed that, in general, the aesthetic picture of the world of the pro-scientific era describes society, nature and art, largely based on the emotional and sensory knowledge of reality. Therefore, the next logical stage in its formation was the theoretical and conceptual level, which presupposes the status of scientific character and interrelation with other special pictures of the world.

The next stage of the research was the analysis of the aesthetic picture of the world of the era of classical science, which showed that the 17th century became the phase of the formation of a new spatio-temporal picture of the world, and therefore a new aesthetic picture of the world. Compared to the previous era, the shift in emphasis from the image of a person to the image of his connections with the environment is clearly noticeable. The environment itself is seen in this aesthetic picture of the world in all its diversity. The unambiguousness of an action is replaced by a multitude of ambiguous reactions to it, a cross-cutting action. And the interpenetration of man and nature saturates the aesthetic picture of the world with emotions with a certain personal attitude. In the course of the study, it turned out that the aesthetic picture of the world of the Enlightenment can be recognized as quite scientific in terms of the following characteristics: intellectual-theoretical level of generalization, abstract nature of the results, cosmopolitanism. Thus, the aesthetic picture of the world of the Enlightenment, combining the sensually concrete and theoretical form of knowledge; the single and universal nature of the results, the significant role of authority and the objectivism of opinions, claims to be a special form of knowledge. Having features of both a scientific and an alternative picture of the world, the aesthetic picture of the world of classical science is an integral part of the general scientific (at the level of philosophy) picture of the world.

As a result of the study of the aesthetic picture of the world of realism, a fundamental difference from the described previous ones was revealed - this is the fact of its coincidence with the model of the world that existed at that time. This pattern has arisen "thanks" to bringing the realists to the logical conclusion of the mimetic principle - the reflection of reality in its own forms.

The expressive images and phenomena of this picture look like isomorphic (similar in appearance) photocopies of the objects of the world, which are captured both in their positive and negative manifestations. Such

the peculiarity of the aesthetic picture of the world of realism is explained by the philosophical and theoretical teachings of this period. In a realistic picture of the world, society held a dominant position in relation to an individual, including the artist. Having understood the laws of nature, society with the help of ideology really subordinated it to its needs, just as art made it its “servant” without the right to choose. "Typical characters in typical circumstances" made this aesthetic picture of the world a monotonous black and white, devoid of compromise. This, in turn, unified the aesthetic consciousness of people to the "consumption of understandable and simple art" of masculine, which indicates a radical change not only in human consciousness, but also in his picture of the world.

Historical analysis of the formation of the aesthetic picture of the world revealed a tendency of continuity in determining the aesthetic expressiveness of objects and phenomena of reality, as well as a gradual expansion of the spectrum of aesthetic assessment of the world (the emergence of the category of aesthetic taste, romantic, etc.). The latter factor was further developed in the postclassical period, to which the next chapter of the study is devoted.

The third chapter of the study "Aesthetics and the picture of the world of the postclassical period" examines the radical changes in human aesthetic consciousness in the XX century, which is due to the dominance of materialism, scientism, technicism, capitalism, nihilism and atheism. The paradigm of modern aesthetics is considered, which has made specific additions to the awareness of the importance of aesthetics and the essence of beauty. Aspects of the newest aesthetic paradigm, the study proposes an aesthetic algorithm for the noosphere and ecological aesthetics. A paradigmatic shift in science determined the transition from objectivist science to epistemic (dialogical), based on interdisciplinary knowledge. Therefore, more and more often in the works of scientists, aspects of the interaction of sciences of different directions are considered. In science itself, tendencies have emerged that indicate that there is a need to create a holistic picture of the world. This is evidenced by the systems approach, the idea of ​​global evolutionism, the idea of ​​synchronicity, the anthropic principle, the synergetic paradigm, which includes a person in the picture of the world.

The description of the aesthetic picture of the modern world in this study is based on the use of a synergetic approach, as a peer to postclassics. The expediency of using the synergetic approach is justified by the representation of the picture of the world as a self-developing system with its multidimensionality, covering all factors influencing the dynamics of the picture itself.

Secondly, synergetic modeling made it possible to activate the ethical side of reality. And if classical science defines

freedom as a conscious need, then sociosynergetics - as an opportunity to choose among possible alternatives and responsibility for this choice.

Thirdly, the construction of the aesthetic picture of the modern world is built taking into account the bifurcation nature of culture itself, which manifests itself in the alternation and sequential complication of development cycles. The search for the bifurcation point (branching of the paths of the system) of the modern aesthetic picture of the world has become a fundamentally important task of the research.

Fourth, the principle of stable disequilibrium (the so-called attractor) was also important, suggesting a sufficient level of diversity of the structural elements of the system, for example, national cultures, as a necessary condition for the stability of the system itself.

Fifth, the principle of the constructive role of chaos is used as a factor in the dispersion and diversity of elements of structural subsystems, which, when conditions change, can lead to the discovery of new promising solutions. This study takes into account a number of different fluctuations (random deviations) that affect the aesthetic picture of the world. This factor of influence on the aesthetic picture of the world was discovered by Oswald Spengler at the beginning of the 20th century called fate: “... the idea of ​​fate, which carries a goal and the future, turns into a mechanically extended principle of cause and action, the center of gravity of which lies in the past. Artistic contemplation, intuition, has the need for fate. ”15 Spengler noted that in the harmonious aesthetic theories of Kant and Hegel, there was no place to study the influence of chance and fate on the culture of mankind, although“ internally, each of them guessed about such an influence. ” 17 Today, a hundred years later, it can be argued that Spengler was a brilliant soothsayer, and his “idea of ​​fate” in “The Decline of Europe” is identical in synergetics with the idea of ​​I. Prigogine about “order through fluctuation”. From the point of view of synergetics, “the beautiful necessarily carries elements of chaos, beauty and harmony are asymmetric.” 18 Perhaps there are numerous fluctuations in modern world society, nature, culture, art, creating an analogue of synergetic dissipative (less organized and chaotic) systems, in will eventually lead to a certain stability and organization (attractor)? Thus, through the categories of aesthetics in the modern aesthetic picture of the world, it is possible to describe a new function of "Spengler's fate" - to introduce randomness into an object and phenomenon in order to achieve a final relative order. “Dissipation extinguishes, destroys,“ burns out ”all“ unnecessary ”vortex flows and leaves only those that form the structure. Chaos, oddly enough, is constructive in its very destructiveness. He builds a structure, removing everything superfluous. ”19 Therefore, contrary to the usual intuitive feeling, the current instability in the world is not an annoying nuisance, but a sign of self-development, which carries a constructive moment.

And the last principle of socio-synergetics - the principle of "distance from nature", suggests that in the process of sociocultural evolution

the proportion of the artificial sphere of human habitation naturally increases. Under the influence of this factor, the whole picture of the world also changes, the format of which in this study is outlined by the "frame" of such elements of reality as: nature, society, art, since they were the traditional objects of philosophical and aesthetic research in the history of science.

In the 21st century, in the presence of many concepts of the development of nature as part of the bifurcation development of the Universe, the effective aspect of the aesthetic assessment of a natural phenomenon becomes important, which takes into account the place a given species occupies in the overall picture of nature, the value and significance of this species in it, as well as the possibility of bringing to the attractor as a necessary way of existence.

The natural system itself, through the prism of aesthetic categories, is an example of the simultaneous coexistence of beautiful and ugly, sublime and low, tragic and comical objects and phenomena; which, without artificial human intervention, developed along a bifurcation path through points of rise and fall with the participation of small and large fluctuations, demonstrating to a rational person an example of a synergistic self-organizing structure. Nature itself contains randomness and irreversibility as essential moments. This leads to “a new picture of matter: it is no longer viewed as passive, as is the case in the mechanistic picture of the world, but has the possibility of spontaneous activity. This turn is so fundamental that we can talk about a new dialogue between man and nature. "

The analysis revealed that the aesthetic properties of nature became not only an object of contemplation and pleasure for a person, but also encouraged him to take an active, in many ways imitative path of creativity. It can be stated that since the time of the gross and barbaric intervention of man into the system of nature, its aesthetic properties have undergone significant changes (the number of terrible, ugly, base phenomena and objects has significantly increased). These changes not only radically influenced the aesthetic "physiognomy" of nature as a whole, but also led to irreversible global changes that threaten life on Earth. Therefore, it is advisable to turn to the experience of nature itself: knowledge of the laws and mechanisms of "creative" nature will allow a person to creatively comprehend and model his future, including by harmonizing the aesthetic properties of nature, and to ensure civilized life, i.e. harmonious state of society.

Among the significant factors in the formation of the modern aesthetic picture of the world are: the transformation of the geopolitical space of the country, the change in spiritual orientations, the pluralism of the interpretation and assessment of the significance of the country's past, the spontaneity of the economic, political and social life of Russians.

At the moment, the state of the modern world is characterized in the study as a civilizational demolition or as a giant bifurcation due to environmental, demographic, financial and economic,

socio-political, religious, ethical, ideological crises, which outwardly today are covered with bright beauty. For this, the description uses paracategories (working formulations of postclassical concepts). But it was revealed that the forms of social consciousness (religion, science, politics) in the modern world also have separate phenomena and objects, characterized by traditional aesthetic assessments. Modern society, according to L.V. Leskov, is at the stage of the sixth geopolitical crisis of the information society and at the stage of the fifth technological order, the main features of which are: the emergence of post-non-classical science, an orientation towards interdisciplinary and problematic research, complex programming, quantum-vacuum technologies, protostructures of reality, universal cosmological field.

The presence of numerous ugly, terrible and vile phenomena and objects in society characterizes its state as a civilizational decline, or, as Oswald Spengler predicted, “the decline of Europe”. This is how LV Leskov characterizes this state of Russian society: “This socio-political system is not able to maintain stability for any length of time. It exists only thanks to the fatigue and civic apathy of the majority of the population. But its destruction is historically inevitable. However, this process may end, unfortunately, with the further disintegration of Russia and its departure from the historical stage. ”21 The study examines several alternative scenarios for the development of both the Russian and the world community:

1. Unipolar globalization according to the Pax Americana model.

2. Unstable balance of several world centers of power.

3. The clash of civilizations, the growth of waves of terrorism, drug trafficking, "small wars".

4. The disintegration of the world community into loosely connected centers of power, a return to barbarism, a new Middle Ages.

5. An ecological catastrophe - first regional, and then global.

6. Globalization according to the model of partnership of local civilizations in solving global problems.

7. Globalization according to the model of noospheric post-industrial transition in the context of a qualitatively new scientific and technological breakthrough.

But among them, the last two scenarios are highlighted, which have a positive stable orientation and the possibility of this synergetic model entering the attractor. In this sense, “we are approaching a bifurcation point, which is associated with progress in the development of information technology. It is “a networked society with its dreams of a global village.” 22

One of the paragraphs of the chapter is devoted to the analysis of the aesthetic in contemporary art, which is characterized by high dynamism, a prompt response to

the technological and geopolitical situation, and, perhaps, the anticipation of the corresponding cycles. Therefore, the place of art in the picture of the world is determined from the point of view of synergetics, in accordance with the level of development of nature and society. Due to the high responsiveness of art to bifurcation changes in nature and society, art itself has repeatedly changed the cycles of its development, which was reflected in the change in artistic styles and cultural eras.

This complexity manifested itself in the non-traditional understanding of fine art: it does not consist in the perfection of the form, not in the depth of the content, but in the value of the very search and guessing of the hidden aesthetic meaning by the viewer, in the originality of the author's artistic concept and in the ability to poeticize the inner contradiction, the ideological incompleteness of his view of being.

External beauty has turned out to be more in demand today than internal beauty, since it fully satisfies the social demand of the modern world. From a philosophical point of view, such a shift in emphasis from inner beauty to outer beauty is justified by the refusal of a modern person from spiritual values, in favor of material and bodily values.

Expressive naturalistic scenes and images of violence, cruelty, sadism and masochism in modern "works of art" are aimed at arousing negative emotions of protest, disgust, disgust, fear, horror, shock. Thus, the ugly is absolutized in the modern aesthetic picture of the world and is included in one row and on equal terms with all other aesthetic phenomena of being-consciousness.

The comic has been identified as a regulator of the synergetic system of art, which has become the most relevant and in demand because it is a constructive effective element of the dissipative construction of contemporary art.

The dissertation traces an attempt to create a new mythology based on illusory simulacra, which are manifested in the masculine tendencies of art: entertainment, absurdity, cruelty, corporeality, plot. In art itself, gesture, character, staginess, illogism, paradox, artistry, visual-verbal drive are in the foreground.

The analysis revealed a significant change in the aesthetic properties of this system and its dissipative (chaotic) state at the bifurcation point. This state of art naturally corresponds to the state of nature and society, of all the surrounding life. A certain synergetic fractality (fragmentary self-similarity) is seen in this fact, which is analogous to the philosophical concept of the monadic nature of the elements of the world. Each monad, according to Leibniz, reflects, as in a mirror, the properties of the world as a whole. Since synergetics argue that chaos is constructive, it is likely that contemporary art's exit from the point of bifurcation will be based on a change in the levels of development of nature, society and on the approval of a certain

artistic style, direction, trend. After all, the dynamic stability of complex processes of self-organization and self-development is supported by following the laws of rhythm, cyclical change of states: rise - decline - stagnation - rise. Both living and nonliving, and man, and the world, and art - everything obeys these rhythms.

In theoretical terms, virtual reality is considered - one of the relatively new concepts of non-classical aesthetics.

The main and decisive difference between virtual reality is the fact that it does not so much reflect reality as competes with it, creating an artificially created environment into which one can penetrate, change it and experience real sensations, and also embodies a dual meaning: imaginary, seeming , potentiality and truth.

The paper notes the specificity of the virtual world, which consists in interactivity, which allows replacing mental interpretation with a real impact that materially transforms any object. The role of the viewer is noted, who becomes a co-creator of virtual reality, experiencing the feedback effect, which forms a new type of aesthetic consciousness, involving the modification of aesthetic contemplation, emotions, feelings, perception. At the center of this complex virtual "web" is a creator man who is able to consciously direct his will to create aesthetic objects in accordance with his idea of ​​the beautiful and the ugly, the sublime and the base, the tragic and comic, the form and content of the aesthetic object (computer morphing as a way of transforming one object into another through its gradual deformation deprives the form of its classical definition).

For the aesthetic picture of the virtual world, a characteristic uncertainty of virtual aesthetic objects has been revealed, due to which judgments about the aesthetic value of any work, natural phenomena lose their clear meaning. Computer special effects contribute to the emergence of an abvivalent multi-reality inhabited by virtual characters who live in a fantastic sphere of dematerializing objects. Fantasy and real objects in a virtual environment become almost indistinguishable. The possibilities of constructing virtual worlds according to the ideal laws of modeling psychological reactions, as well as intrusions into artificial worlds by other participants in a virtual game, affect the perception of the real world as an irrational given giving in to unlimited control. This illusion of participation in any event also creates an artificial catharsis. On the one hand, acting on the subconscious, artistic virtual reality provides instant awareness of the integrity of aesthetic influences, which contributes to the expansion of the sphere of aesthetic consciousness and vision of the picture of the world. For example, the latest experiments with biochemical virtual reality are aimed at artificially stimulating emotions - feelings of joy, grief, anger, love-sexual

experiences. On the other hand, researchers-psychologists note a certain "detachment" of those who have joined the virtual world, the urge to once again plunge into the artificial world, the violation of social contacts of the individual. Getting used to the dynamics of computer games reduces the ability to contemplate, and the participants in the process themselves become Internet addicts. Thus, the real world is replaced by a virtual simulacrum, which blurs the feeling of aesthetic distance, and aesthetic criticality decreases. And it is already difficult for a virtual creator to operate with the classical aesthetic categories of the beautiful and the ugly, the sublime and the base. For example, it is difficult for him to call the death of a person tragic, since it is reversible in the virtual world.

The study found that virtuality deforms moral and aesthetic values, for example, a tolerant attitude towards violent death, the creation of fake video compromising materials - falsified print, sound, photo and video facts. Such spatio-temporal metamorphoses, based on network methods of transmitting any information, lead to a violation of cause-and-effect relationships.

As a result of these metamorphoses of the perception of the real and virtual worlds, the dissertation indicates their interdependence in a holistic structural description of modern reality through the prism of aesthetic categories.

The entire picture of the modern world is presented in the study as a playful kaleidoscope of texts, meanings, forms, formulas, symbols and simulacra. It was revealed that in this picture the aesthetic assessment of the objects of the world is directly dependent on the attitude of the artist and the viewer. The fundamentally relativistic attitude towards the perception of the modern world is far from a simplified understanding of the positivity of order and the negativity of chaos. It presupposes a constant confrontation between the ordering divine principle and chaos in which the development of the life process takes place.

In the Conclusion of the dissertation, the general conclusions of the study are formulated, the scientific results that confirm the validity of the hypothesis put forward are analyzed, hypothetical assumptions about the possibility of introducing the concept of an aesthetic picture of the world into the categorical apparatus of aesthetics are concretized.

The whole picture of the modern world appears as a playful kaleidoscope of texts, meanings, forms, formulas, symbols and simulacra. In this picture, the aesthetic assessment of the objects of the world is in direct proportion to the attitude of the artist himself and the viewer. The fundamentally relativistic attitude towards the perception of the modern world is far from a simplified understanding of the positivity of order and the negativity of chaos. It presupposes a constant confrontation between the ordering divine principle and chaos in which the development of the life process takes place. In this sense, nature looks in the picture of the world as an example of a transformer of chaos into ordered beauty, and art, like nature, must transform human relations,

dressing them with beauty and harmony. Following the teachings of Vladimir Solovyov, a person in such a situation should act as a co-creator, who freely and on the basis of his own knowledge, faith, reason will be able to finally organize reality in accordance with the divine plan.

Globalists and synergetics associate the development of the modern world with the popular idea of ​​the formation of the noobiogeosphere, such a state of the biosphere in which intelligent human activity becomes a decisive factor in its development. The path to the noosphere lies through an increase in the role of the intellectual principle, the gradual predominance of spiritual-material factors over material ones, which, according to synergetics, will allow human civilization to leave the point of bifurcation breakdown onto an attractor. Since the noospheric mind is both an individual mind and an integral intelligence of civilization, a synergistic effect of combining human knowledge and technical means arises. The formation of the noobiogeosphere is presented as a process of self-organization of stable wholes in nature and society, therefore, such a category of science as the aesthetic picture of the world can be used as one of the aspects of the consolidation of aesthetic experience on the way to “noospheric existence”.

1. Suvorova I.M. On the question of the relationship between artistic and aesthetic pictures of the world // Management: history, science, culture. - Petrozavodsk: Publishing house of SZAGS, 2004. - S. 188-191, (0.2 sq.).

2. Suvorova I.M. Virtuality and aesthetic picture of the world // Management: history, science, culture. - Petrozavodsk: Publishing house: SZAGS, 2005. - S. 267-270, (0.2 pp.).

3. Suvorova I.M. On the question of the relationship between the linguistic and aesthetic pictures of the world // Reality of Ethnos 2006. The role of education in the formation of ethnic and civil identity. - St. Petersburg, signed for printing on March 20, 2006. -WITH. 616-619, (0.3 pp.).

4. Suvorova I.M. Educational aspects of the aesthetic picture of the world of the Age of Enlightenment // Sat. scientific. Art. post-graduate students of KSPU. / Ed. E.A. Sergina. -Petrozavodsk: Publishing house of GOU VPO "KSPU", signed for printing on 16.01.2006. - S. 128-133, (0.5 pp.).

5. Suvorova I.M. Aesthetic consciousness as a regulator of human conflict and the environment // Sat. scientific. Art. post-graduate students of KSPU. / Ed. E.A. Sergina. - Petrozavodsk: Publishing house of GOU VPO "KSPU", ", signed for print on 16.01.2006. - P.112-115, (0.5 pl.).

I See: Beauty and the Brain. Biological aspects of aesthetics: Per. from English / Ed. I. Renchler. - M. 1993 .-- p. 24.

2Nalimov V.V. In search of other meanings. - M., 1993.-P.31.

3 In the works of O. Spengler, L. Wittgenstein, M. Weber, V. I. Vernadsky, M. Planck,

A. Einstein and others.

4 See the works of P. V. Alekseev, E. D. Blyakher, L. M. Volynskaya, R. A. Vikhalemma, V. G. Ivanov,

V. N. Mikhailovsky, V. V. Kazyutinsky, R.S. Karpinskaya, A. A. Korolkov, A. I. Kravchenko, B. G. Kuznetsova, L. F. Kuznetsova, M. L. Lezgina, M. V.V. Mostepanenko, V.S. Stepin, P.N. Fedoseev, S.G. Shlyakhtenko and others. In foreign philosophy and science, M. Bunge, L. Weisberger, M. Heidegger, J. Holton addressed this topic

5 Einstein A. Autobiographical notes. - Collected sciences. tr., T. 4., - M., 1967. - S. 542.

6 Ovchinnikov Yu.A. Aesthetic picture of the world and value orientations // Value orientations of the individual, ways and methods of their formation. Abstracts of the scientific conference. - Petrozavodsk, 1984.- P. 73.

7 Nalimov V.N. In search of other meanings. M., 1993.S. 31.

8 Valitskaya A.P. New School of Russia: Cultural Model. Monograph. Ed. Prof. V.V. Makaeva. - St. Petersburg, 2005.

"Images of the world in the history of culture of various countries were also considered by M.D.Akhundov, L.M. Batkin, O. Benesh, T.P. Grigorieva, K.G. Myalo, V.N. Toporov and others. 10 See works S.S.Averintsev, E.I. Visochina, Yu.B. Borev, R.A. Zobov and A.M. Mostepanenko, B.Migdal, B.S.Meilakh, N.S. Skurtu and other authors.

II A number of significant issues related to the linguistic, scientific and aesthetic picture of the world were considered by I.Ya. Loifman, N.S. Novikova, G. Reinin, N.V. Cheremisina, I.V. Chernikova.

12 Bychkov V.V. Aesthetics. M., 2005. - S. 7.

13 See: I. Prigogine, Nature, Science and New Rationality // In Search of a New World Vision: I. Prigogine, E. and N. Roerichs. - M., 1991; Prigogine I., Stengars I. Time, chaos, quantum. - M., 1994.

14 Skurtu N.S. Art and the picture of the world. - Chisinau, 1990 .-- S. 43.

15 Meilakh B.S. New in the study of artistic creativity. - M, 1983 .-- S. 87.

16 Spengler O. Decline of Europe. - Novosibirsk, 1993. - P. 546. "Ibid. - P. 512.

18 Leskov L.V. Synergetics of culture. // West. Moscow State University. Series 7. Philosophy. - 2004. No. 4 - P. 47.

19 Knyazeva E.N. Accident that creates the world. // In search of a new worldview: I. Prigogine, E. and N. Roerichs. Philosophy and Life. No. 7. - 1991. P. 18.

29 Prigogine I. Nature, Science and New Rationality. // In search of a new worldview: I. Prigogine, E. and N. Roerichs. Philosophy and Life. No. 7. - 1991, - P. 33.

21 Leskov L.V. Synergetics of culture. // Philosophy and Culturology. Moscow State University Bulletin. Series 7. Philosophy. -2004. No. 5.- P.24.

22 Prigogine I. The bone has not been thrown yet. // Synergetic paradigm. Nonlinear thinking in science and art. - M., 2002 .-- S. 18.

Signed for printing on May 26, 2006. Format 60 * 84 Vis .. Order No. 79. Offset paper, 1 pp. Circulation 100 copies. State educational institution of higher professional education "Karelian State Pedagogical University" Republic of Karelia. 185680, Petrozavodsk, st. Pushkinskaya, 17. Printing shop

1.1. Painting M1fa, its features and variety

1.2.Specifics, structure and functions of the aesthetic carthshyM1fa

1.3 Correspondence between the aesthetic card and the scientific card M1fa. 26 Conclusions

Chapter 2. Patterns of historical forcing and development of the aesthetic M1fa

2.1. Aesthetic karishashfaprotoyaushay era

2.2 Aesthetic carttsha MGFA eiohi of classical science 60 Conclusions

Chapter 3. Aesthetics and KapTinia of the World of the East Classical Hieriod

3.1 Scientific approaches to the problems of modern lpfa

3.2. Research methodology of the modern picture of the M1fa as a shergetic system

3.3. Aesthetic in irhfod

3.4 aesthetic in society

3.5 Aesthetic in art

3.6 Virtuality and aesthetic mapping 133 Conclusions

Dissertation introduction 2006, abstract on philosophy, Suvorova, Irina Mikhailovna

In the last decades, significant changes have taken place in the social and spiritual spheres of society. Drshamically developing information society recognizes the highest value of a person who has a high degree of freedom, independence and responsibility. A change in the geoiolitic situation, a change in the technological order, the growth of commu- nication! entailed substantial changes in the space of modern man's Junnas, primarily in the cultural part of it. Relevance of the research Aesthetic research is increasingly turning to the problem of refining and collapse of cultural paradigms and arising from this change! in the aesthetic creation of society and man. The relevance of the research topic is due not only to the object process of the cultural and historical movement of mankind, but also to the dynamics of a person's personal development in a modern complex and unpredictable MGF. Scientists of neuropsychology (Metzger, Hosiers) assert that in the personal life of every person there is a feature of generally accepted aesthetic judgments, which is explained by the peculiarity of the human brain to reduce the all-complex and chaotic to order and symmetry, as well as to experience the so-called “the joy of recognizing you,” in perceived forms. Therefore, all objects of the surrounding environment are subject to an aesthetic assessment, which forces a person's ability to perceive the environment in an orderly manner and to fill up the perceived, i.e. "The whole vision should include the aesthetic principle." 1993. -P.24. ^ Nalimov V.V. In search of other meanings. - M., 1993. - 31.4 Consequently, the formation of a single integral universal aesthetic picture of the world is a necessary condition for the existence of a person in MGF. In theoretical terms, one of the modern tendencies is to advance , apart from traditional classical concepts, a multitude of non-classical, but sometimes anti-aesthetic (from the point of view of the classics) categories (absurdity, cruelty, etc.) Such a polarization of aesthetic assessments of the surrounding reality requires the introduction of universal philosophical understandings into the categorical apparatus of aesthetics! art and iridescence. the category of the aesthetic ", the development of which led to the appearance in the aesthetics of irc-research principals of relativity, polysemy, polymorphism! values, as well as the tendencies of the outgrowth of aesthetics into psychology, which incorporates philosophy, philological studies, art studies, cultural studies, semiotics, synergetics and global studies. So, at the beginning of the 20th century, in connection with the problems of the mental outlook crisis in phsics and philosophers! ^ Began to take shape, a nonsense of the universal carthshy lpfa, which received a further development on a philosophical-theoretical level. during which the most fully substantiated philosophical and aesthetic concepts that went down in history with the sub-names of "historical" (N. A. Dmitrieva, M. F. Ovsyannikov, G. N. Pospelov, P. V. Sobolev, Yu. V. Linniki, etc.) and "Social", later developed as an axiological theory of aesthetic values ​​(MS Kagan, LN Stolovich, YB Borev and others) A special place in aesthetics has taken a position, in accordance with which aesthetic is interpreted as expressiveness, expressive form. This theory was developed in the works of L.F. Losev and was reflected and used in the works of V.V. Bychkov, O. Akrivtsun, Yu.A. Ovchinnikov and other authors. ^ In the works of O. Spengler, L. Wittgenstein, M. Weber , V.I. Vernadsky, M. 11lanck, AEinstein and others. ^ See the works of P.V. Alekseeva, R. Avikhalemma, V. G. Izanov, V. N. Mikhailovsky, V. V. Kazyutinsky, R.S. Karpinskaya, A. AKorol'kov, AK Kravchenko, B. G. Kuznetsova, L. F. Kuznetsova, M. L. Lezpp10y, M.V. Mostepanenko, V.S. Stepin, P.N. Fedoseev, G. Shlyakhtenko and others. In foreign philosophy and science, M. Bunge, L. Weisberger, M. Heidegger, J. scientific parts, Shfa's paintings. It turned out that scientific-theoretical knowledge is not a simple generalization of experience data, but is a synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, grace, theoretical nocTpoeiiirii). A scientific theory only then reflects physical reality, Eyishtein believed, when he possesses inner perfection. Consequently, in the form of physical, astronomical, and other scientific maps, there is also an emoji-like sisocial sense of reality. Thus, in aesthetic reality, all parts and properties of a phenomenon are recognized in relation to its whole and are comprehended through the unity as a whole. Here, all the jokes, the peculiarities of the parts of the manifestation and their number of correlations, will appear in their own co-ordinates! whole. To apply its own measure to the manifestation is to comprehend in it the integrity in the totality of all properties, to interpret it aesthetically. Such comprehension can have a positive and disgusting result, which correlates with aesthetically positive and disgusting categories. "The theoretical development of a scientific aesthetic picture of the world" will contribute to "a methodologically reliable and heuristically satisfying scientific basis for the formation of stable and subjective aesthetic orientations." T. 4., - M., 1967. - 542. ^ Ovchinnikov YA U Aesthetic picture of the world and value orientations // Value orientations of personality, ways and methods of their formation. Abstracts of the scientific conference. -Petrozavodsk, 1984. P.73.6 precisely today, when human education in the period of bifurcation breakdown and the change of cultural naradngma. selected topic. The relevance of the problem, the inadequacy of its theoretical development, the need to determine the status of the concept denoted by the subject of research: "The aesthetic picture of the head and the problems of its foreshadowing." and etc.). The development of this philosophical problematics has shown that the general picture of the world is not explained within the framework of one special science, but each science, often claiming to create its own special picture, makes its own contribution to the form and a universal picture of the world, which unites all areas of knowledge into a single description of the surrounding reality. The problem of kartagy pfa has been extensively developed in the works of S. S. Averintsev, M. D. Akhundov, E. Blyakhera, Y. Boreva, V.V. Bychkov, L. Weisberger, E. I. Vnsoshshoi, L. Vntgenigtein, V. S. Danilova, R. A. Zobov, A. I. Kravchenko, L. F. Kuznetsova, I. Ya. Loifman, B. S. Meilakh, A.B. Migdala, A.M. Mostepaneiko, N.S. Novikova, Yu.A. Ovch1shsh1K0va, G. Reishsh, V.M. Rudnev, N.S. Skurtu, V.S. Stengsha, M. Heidegger, J. Holton, N. V. Chereshisnnoy, I. V. Chernshsova, O. Spengler. "Nalimov V. N. In search of other meanings. M., 1993. 31. ^ Valitskaya AP. New school of Russia: cultural model Monograph, Edited by Prof. V. V. Makayev, St. Petersburg, 2005.7 The worldview has always been interpreted as the co-ordinateness of views and ideas about Mife, where the aesthetic relationship of a person to reality is reflected. consciousness was a logical and natural fact in the development of theoretical thinking. isush; th creation of yukoyukretnoy culture. Similar representations in antiquity aesthetics are presented by A.-F. Losev, in medieval culture - A. Ya. GD Gachev explores the images and models of Mfa in various national cultures, paying special attention to the works of literary creativity. The term "aesthetic picture of the MGFA" is used in their works by Yu.A. Ovchgshpsov (1984) and E.D. (1985), "" where a number of research tasks were set on the problem and important aspects of new aesthetics were formed. Sui]; An essential change in HomiMamie and the subject of aesthetics is carried out by V.V. Bychkov, defining it as the science of "the harmonic of a human being sushers." the well-known sense of odshgm from its most important nonreleasing! The second group of research literature - works that carry; the world images in the history of culture of various countries were also considered by M. Dakhundov, L.M.Batkin, O. Benesh, T.P. Grigorieva, K.G. Myalo, V.N.To porov and others. ^ See the works of S. Averintsev, E.I. Visochina, Yu.B. Borev, R.Azobov and A.M. Mostepanenko, B.Migdal, B.S. Meilakh , NS Skurt and other authors. ^ A number of significant issues related to the linguistic, scientific and aesthetic picture of the world were considered by I. Y. Loifman, N.S. Novikova, Greinin, N.V. Cheremisina, K.V. Chernikova. 8 To the philosophical and art history analysis of the art of different cultural subjects II, artistic production is so great that it is difficult to present it as a simple innumeration of names. The works of T.V. Adorno, Aristotle, V.F. Asmus, O. Balzak, M. Bakhtin, O. Benesh, G. Bergson, V.V. Bychkov, A.P. Valischkoy, Vershliya, Voltaire, G.V. F. Hegel, Gorashsh, A.V. Gulyp1, A.Ya. Gurevich, M.S. Kagan, V.V. M. Mamardashvili, B. S. Meilakh, M. F. Ovsyannikov, H. Ortega-i-Gasset, Petrarch, Platon, V. S. Soloviev, V. Tatarkevich, E. Fromm, J. Heyzeig, V. P. Shestakov, F. Schlegel, F. Schiller, U. Eco. The third group of sources - the latest research in the field of aesthetic innovations and synergetics of culture - the work of V. S. Danilova, E. N. Kiyazeva, L. V. Leskov, P.B. Mai'kovskaya, L.V. Morozova, I. Prigogine, I.Sh. Safarov, V.S. Stenin, L.F. Kuznetsova. art critics, scholars and globalists, substantiates his own vision of the problem of the aesthetic picture of the world, which was touched upon in the works and rarity. A number of works contain a description of certain important aspects of the ionization of the picture M1pha, its features and varieties, as well as the problems of its formation in specific historical periods. Odiaco a number of historical and theoretical aspects and problems remain outside the research interest. The object of research is the aesthetic map of the M1fa as a form of the deep and comprehension of reality. The subject of research is the formation of the aesthetic picture of a lshra in theoretical and historical aspects, as well as the semantic and structured representations of a The goal of the study is to comprehend the concept of the aesthetic concept of a school as a universal aesthetic category, as a way of aesthetic expressiveness of the surrounding reality through the npiDMy categories of aesthetics. kartshsh! mpra; consider the ratio of the aesthetic map of the MGFA with the scientific and artistic picture of the MGFA; oy kartshshy mfa, to determine its place in aesthetic knowledge and status within the framework of the philosophical outlook and scientific knowledge; based on the material of the Western European aesthetics, consider the process of the development of aesthetic cartography and identify the characteristic features of the formation at different stages of the Pstorny culture, the Classical Age, the Middle Ages, the Middle Ages romanticism, psymbolism, naturalism and realism); consider the specialty of forcing the aesthetic picture of the modern Shfa, its structural and substantive differences from the previous carts! M1fa; to establish its role in the foreshadowing of a person's ideas about the surrounding reality. Methodology of research In the dissertation, phylo-philosophical-aesthetic, HC Topinco-theoretical, high-level methods of research are used / The work uses elements of a similar body-historical analysis, 1 the study of non-historical ideas is combined with a co-ordinate study of their ideas. Prigozhiy I. Nature, Science and New Rationality / KPrigozhin // Philosophy and Life. 1991. No. 7; Prigozhiy I., Stengars I. Time, chaos, quantum. - M., 1994.10 context. Isto ^ shikamn research are the works of philosophers and aesthetics of the 18th - 21st centuries, who dealt with the problem of the aesthetic picture of Mfa; works devoted to Teopini and the history of art, global problems of the modern world, as well as works in which specific studies of literature, fine, musical, multimedia art are analyzed; ideas and images related to different Enochs and most vividly expressing them. The study unfolds in the following directions: the first chapter discusses in detail the interpretation of the painting Mpha n aesthetic carthshy M1fa in Russian and Western European philosophies and aesthetics of the XX-XXI century. ... The second chapter examines the regularities of the historical formation of the aesthetic cardinality M1fa of the roto-scientific period, the periods of classical spider and post-class science. In the third chapter, on the basis of the complex modern aesthetics of ideas about society, society, and art, the general problem of the formation of the modern aesthetic picture of Shf as a model of a synergetic system is discussed. theoretical generalization) and in many aspects have a methodological and educational value. This is due to the tasks of the development of humankind education and the need to form a holistic human vision of a modern person. Within the framework of this study, not only a theoretical anasha is carried out, but a non-experimental study of wonros. Scientific novelty is investigated. art of culture and aesthetic thought; in the discovery of the characteristic features of the historical maps of the world and their succession and connection; in the determination of the specific status of the aesthetic picture of the world of some kind, which belongs to the same relationship to the ioscience [to the alternative to peace. For the first time, in the light of the ideas of modern aesthetics and geometrical design, the originality and idiosyncrasy of the aesthetic picture of modern life is considered, which is due to its special conditional form in the context of the systemic crisis of society and culture. At the same time, the results of the study underline the enormous importance of the aesthetic wolf-grinder! The scientific significance of the research The main conclusions of the dissertation research make it possible to assert that the aesthetic picture of LPFA enters into aesthetics as one of the wider categories of modern science and sets a new perspective for its expansion as a philosophical science. The materials and conclusions of the dissertation1P1 can be used in long-range studies of nofnlosofsh! ! The concentrated approach developed by the author can serve as a basis for further joking about the originality of the aesthetic picture of concrete enoch, links with other paintings of M1fa. The actual development in modern science of the philosophical concept of the picture leads to the notion of such a diversity of it as an aesthetic picture of the world. Reflecting all the aesthetic diversity of reality in its entirety, it performs important scientific and ideological functions, which is understandable to the aesthetic picture. 2. Being closely related to the very essence of the category of aesthetic, non-aesthetic karthsha M1fa reveals its most important role in modern scientific and intellectual search. 3. The historical foreshadowing of the aesthetic picture of the mrfa originates on the basis of a developing understanding of the human being, while the aesthetic categories deny a certain stability of the general tendency in iicTopini of ideas about the aesthetic expressiveness of the surrounding MRFA, which consists in the desire to see the M1f harmoniously stable. 4. Basic! obsktap! in the construction of the aesthetic picture of the ffp, there are always nr1foda, society and art; found from the 18th century, vforshfovashp! aesthetic kartshsy lpfa an increasing role is played by the science of aesthetics proper, which took shape as an independent philosophical discourse.

5. The special role of science is manifested in the foreshadowing of the modern aesthetic map M1fa, in the creation of which a significant place belongs, in part, geological science and globalization. Approbation of ideas underlying the study Management: history, science, culture "(Petrozavodsk, North-West Academy of Public Administration, Karelian Branch, 2004); "Management: history, science, culture" (Petrozavodsk, Northwestern Academy of Civil Service. Karelian Branch, 2005); on the international coiferepschp! "The reality of the ethos 2006. The role of forming ethnic and civil identity" (St. Petersburg, 2006); as well as at the annual research conferences of the Karelian State Pedagogical University. Dissertations13 were discussed at the meeting of the Department of Philosophy of the KSPU and the Department of Aesthetics of the Russian State Pedagogical University. The structure of the thesis: contains a dissertation research in 158 horrors of the axial text. The work consists of an introduction, three chapters, each of which is a section and a paragraph, conclusions and on each chapter, conclusions, a book of sources and literature on a topic, irtshozhegash with the results of an exquisite study.

Conclusion of scientific work dissertation on the topic "Aesthetic picture of the world and the problems of its formation"

1. In modern aesthetic consciousness, there is a growing trend of perception

mnra with Н03НЦШ1 new esthetic nonyats !, Reveal phenomena and

The picture of this painting is mnra nronskhodnt with nosnosch nrotshn n gara. All

the picture of the modern world appears as a playful kaleidoscope of texts,

meanings, forms, formulas, symbols II snmulakrov. 2. In this chart, the esthetic assessment of the objects of the program are in a straight line

reliance on the subjective attitudes of the artist himself and the viewer. 3. Principled relativistic setup on the perception of modern MGFA

far from a simplified understanding of the cognition of order and the neglect of chaos. It presupposes a constant struggle against the ordering of the starting principle and

chaos in which the development of the life process takes place. “Chaos, that is itself is ugly, there is a necessary background for every kind of fancy, and aesthetic

the meaning of such phenomena as a stormy sea or a heavy thunderstorm depends precisely on

that "the raani chaos node is stirring."

4. In this case, np1foda looks like a sample

transforming chaos into ordered beauty, but art, but

nature, must transform human relationships, dressing them

beauty and harmony. So yes; e V.L. Soloviev argued that a person in such

situation! must act as a co-T-fighter who is free and based on

own knowledge, faith, reason will be able to finally organize

validity in accordance with divine design. “I define this task as the task of art, I find its elements in nro1pvedesh1y

human creativity, and the question of drying; I endure such

image into the aesthetic sphere. "

shots out, being considered from the point of view of aesthetic categories!

demo will show the status and content that matches

postclassical period of art and aesthetic theory. "Soloviev B.C. Collected Works. Vol. 7. - M. - 127. ^ Tamzhe, 352. Conclusion

Research on the topic of the dissertation was carried out within the framework of the Princes

classic aesthetics, taking into account cardiac transformational

processes in culture and aesthetic creation. During the dissertation

research, a number of tasks related to theoretical and

a historical study of the process of forming an aesthetic painting

lpfa. Based on the conclusions drawn in the ociroBiroM text of the dissertation, one can

make the following generalization of the axial research results. Based on analsha philosophical and aesthetic literature (Chapter 1)

it is shown that in connection with the general tendencies of the development of science and philosophical

M1 imaging in modern aesthetics

aesthetic card M1fa, claiming to be a wide-range category

aesthetic knowledge. Reflecting lpf in its unity and system

organization of the main categories

the aesthetic picture of M1fa is a complex structure of macro- and

shphoobrazov. Comparison of aesthetic, artistic and scientific paintings

lpfa and proves that the aesthetic map of the M1fa has a special status - scientific

and alternative mkhfa paintings at the same time. So she can

interact with both art and science, incorporating artistic

images and scientific ideas, as well as taking on a number of functions! scientific

character (systematizing, cognitive-anashgpsheskaya, osetoshgyuyu). Historical and aesthetic! (Chapter 2) analysis of the development process of various

aesthetic paintings M1fa (Antiquity, Middle Ages, Renaissance,

Classroom, Education, Romantum and Simvoshom, Naturalism and

realism) made it possible to reveal not only the peculiarities of their shaping on

each w of the three main HCTopiniecKiLX stages, but above all -

the uniqueness of each of them, their dependence on their vision and

The most sensible era. Change of cultural eras means radgpsal

1 is replaced and the most aesthetic karthshy lpfa. In this case, and

a certain continuity in the development of the aesthetic picture of MEf from

AGE To the era. She is provided with aesthetic categories, first of all

appraisal. Based on the use of synergetic applications and methods for

descriptions of the aesthetic picture of the modern world (Chapter 3) shows that

the aesthetic consciousness of the community; the whole of the XXI century revives the whole

art, society) as a relattgoistic semantic chaotic

systems. The perception of the phenomena and simulacra of this system and originates from

ios1schsh [1foshn1 and games. The whole map of modern society appears as

game kaleidoscope of texts, meanings, forms, formulas, symbols and

simulacrum. And, nevertheless, prkhfoda gives an example of accordion and beauty, which

there must be an art that must and transform the society. Aesthetic

consciousness of the XX century has developed in a crisis, developing a

methodological ycTairoBiar, and therefore is choracterized by protgvoreciyalpg,

struggle of ideas and concepts. Hence, all the severity of the problems follows,

associated with the creation of a modern picture of MTFA in aesthetics. The universal concept of "aesthetic cardinality M1fa" as an integral

systemic description of expressive images, ndey and yavlensh! society,

nature, art, given through the irism of aesthetic categories, can

play a large role in the foreshortening of the M1fowosres. This opens up new

opportunities in the field to educate, in particular - in the course

aesthetics. The results of an experimental training course are shown in Proshozesh.

an assignment performed by students who performed it with an iiteres

requirements related to the problem of building an aesthetic picture

In conclusion of the dissertation research, it should be noted

further philosophical and theoretical ways of research and development

dshpgogo category IJIrogo concepts in the system of aesthetic categories!

ionclassics. Globalists and scholars associate the development of modern M1fa with

the popular idea of ​​the foreshadowing of the noobiogeosphere, such

biosphere, in which intelligent human activity becomes

decisive factor in its development. The path to the ioosphere lies through the higher

the role of the intellectual principle, the gradual predominance of spiritually material factors over material ones, which, for me, synergetics,

will allow vn "gg11 human c1Sh11Sh1zats1P1 ID POINT of bifurcation break

to the attractor. Since the noospheric mind is also an indtidual mind,

and the integral intelligence of civishoats! then the synergistic

the effect of combining human knowledge and technical means. Naukadsh

noospheric class is called a complex of natural, humanistic sciences

and ethical-relational scholarship! in which the formation of

deep synthetic structure of juvenile processes of living, inanimate and

spiritual nature. Half of this, the forefather of the biogeosphere

and is presented as a process of self-organization of stable integrity in

the picture of M1fa can be used as an ODRSH FROM aspects of consolidation

aesthetic experience on the way to “ioospheric existence”.

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The successes of modern natural science are inevitably associated with the development of physical and systemic pictures of the world, which are usually presented in the form of natural hierarchy. At the same time, human consciousness, moving in the direction of studying the macro- and microcosm, discovers more and more laws of motion, variability, relativity, on the one hand, and constancy, stability and proportionality, on the other.

In the eighteenth century. the world of accidentally and spontaneously arising vortices of already known and not yet known laws of nature were replaced by the world and the principle of an invariable mathematical law. The world he ruled was no longer just an atomistic world, where they arise, live and die by the will of an aimless chance. The picture of the metamir, the megaworld appeared some orderly education, in which everything that happens can be predicted. Today we know the Universe a little more, we know that stars live and explode, and galaxies arise and die. The modern picture of the world has destroyed the barriers separating the sky from the Earth, united and unified the Universe. Accordingly, attempts to understand the complex processes of conjugation with global laws inevitably lead to the need to change the research paths along which science moves, because the new scientific picture of the world inevitably changes the systems of concepts, shifts problems, and questions arise that sometimes contradict the very definitions of scientific disciplines. One way or another, the world of Aristotle, destroyed by modern physics, was equally unacceptable to all scientists.

The theory of relativity has changed the classical ideas about the objectivity and proportionality of the universe. It has become highly probable that we live in an asymmetrical universe in which matter prevails over antimatter. The acceleration of the notion that modern classical physics has reached its limits is dictated by the discovery of the limitations of classical physical concepts, from which followed the possibility of understanding the world as such. When randomness, complexity and irreversibility are included in physics as the concept of positive knowledge, we inevitably move away from the previous very naive assumption about the existence of a direct connection between our description of the world and the world itself.

This development of events was caused by unexpected additional discoveries that proved the existence of the universal and exclusive significance of some absolute, primarily physical, constants (the speed of light, Planck's constant, etc.), limiting the possibility of our impact on nature. Let us recall that the ideal of classical science was a "transparent" picture of the physical Universe, where in each case it was assumed that it was possible to indicate both the cause and its effect. But if the need arises for a stochastic description, the causal relationship becomes more complicated. The development of physical theory and experiment, accompanied by the emergence of more and more physical constants, inevitably predetermined the growth of the ability of science to search for a Single Beginning in the variety of natural phenomena. Repeating in some way the speculations of the ancients, modern physical theory, using subtle mathematical methods, as well as on the basis of astrophysical observations, strives for such a qualitative description of the Universe, in which an increasing role is no longer played by physical constants and constants or the discovery of new elementary particles, but numerical relationships between physical quantities.

The deeper science at the level of the microworld penetrates into the mysteries of the Universe, the more it discovers the most important unchanging ratios and values ​​that determine its essence. Not only the man himself, but also the Universe began to be presented in exceptionally and surprisingly harmonious, proportional both in physical, so, oddly enough, and in aesthetic manifestations: in the forms of stable geometric symmetries, mathematically constant and precise processes that characterize the unity of variability and constancy ... Such are, for example, crystals with their symmetry of atoms or orbits of planets so close to the shape of a circle, proportions in plant forms, snowflakes, or coincidence of the ratios of the boundaries of the colors of the solar spectrum or musical scale.

This kind of invariably repeating mathematical, geometric, physical and other regularities cannot but prompt attempts to establish a certain community, a correspondence between the harmonious laws of material and energetic nature and the laws of phenomena and categories of a harmonious, beautiful, perfect in artistic manifestations of the human spirit. It is no coincidence, apparently, one of the outstanding physicists of our time, one of the founders of quantum mechanics, Nobel Prize laureate in physics V. Heisenberg was simply forced, in his words, to “abandon” the concept of an elementary particle altogether, as physicists were forced in their time “ reject "the concept of an objective state or the concept of universal time. As a consequence of this, in one of his works, W. Heisenberg wrote that the modern development of physics has turned from the philosophy of Democritus to the philosophy of Plato; “... if we,” he noted, “divide matter further and further, we will ultimately come not to the smallest particles, but to mathematical objects determined by their symmetry, Platonic solids and their underlying triangles. Particles in modern physics are mathematical abstractions of fundamental symmetries "(italics mine .- A. L.).

When stating this surprising by its nature conjugation among themselves heterogeneous, it would seem, at first glance, phenomena and laws of the material world, natural phenomena, there is enough reason to believe that both material-physical and aesthetic laws can be expressed in sufficiently similar power relations, mathematical series and geometric proportions. In the scientific literature, in this regard, attempts have been made repeatedly to find and establish some universal objectively given harmonic relations, which are found in the proportions of the so-called approximate(complicated) symmetry, analogous to the proportions of a number of natural phenomena, or direction, tendency in this higher and universal harmony. Currently, there are several basic numerical values ​​that are indicators of universal symmetry. These are, for example, the numbers: 2, 10, 1.37 and 137.

And magnitude 137 known in physics as a universal constant, which is one of the most interesting and not fully understood problems of this science. Many scientists of various scientific specialties wrote about the special meaning of this number, including the largest physicist Paul Dirac, who argued that there are several fundamental constants in nature - the electron charge (e), Planck's constant, divided by 2 π (h), and the speed of light (c). But at the same time, a number can be derived from a number of these fundamental constants, which has no dimension. On the basis of experimental data, it has been established that this number has a value of 137 or very close to 137. Further, we do not know why it has exactly this value, and not any other. Various ideas have been put forward to explain this fact, but any acceptable theory does not exist to this day.

However, it was found that next to the number 1.37, the main indicators of universal symmetry, which are most closely related to such a fundamental concept of aesthetics as beauty, are the numbers: = 1.618 and 0.417 - the "golden ratio", where the connection of numbers 1.37, 1.618 and 0.417 is a specific part of the general symmetry principle. Finally, the number principle itself establishes the number series and the fact that universal symmetry is nothing more than a complicated approximate symmetry, where the main numbers are also their inverse values.

At one time, another Nobel laureate, R. Feynman, wrote that “we are always drawn to view symmetry as a kind of perfection. This reminds of the old idea of ​​the Greeks about the perfection of circles, it was even strange for them to imagine that planetary orbits are not circles, but only almost circles, but there is a lot of difference between a circle and almost a circle, and if we talk about the way of thinking, then this change is simply huge. " A deliberate theoretical search for the basic elements of a symmetrical harmonic series was already in the center of attention of ancient philosophers. It was here that aesthetic categories and terms received their first deep theoretical development, which were later laid down in the basis of the doctrine of form formation. In the period of early antiquity, a thing had a harmonious form only if it possessed expediency, good quality, and utility. In ancient Greek philosophy, symmetry appeared in the structural and value aspects - as a principle of the structure of the cosmos and as a kind of positive normative characteristic, an image of what should be.

The cosmos as a certain world order realized itself through beauty, symmetry, goodness, truth. Beauty in Greek philosophy was considered as a kind of objective principle inherent in the Cosmos, and the Cosmos itself was the embodiment of harmony, beauty and harmony of parts. Despite the rather controversial fact that the ancient Greeks "did not know" the very mathematical formula for constructing the proportions of the "golden section" well known in aesthetics, its simplest geometric construction is already given in the "Elements" of Euclid in Book II. In books IV and V, it is used to construct flat figures - regular pentagons and decagons. Beginning with the XI book in the sections devoted to stereometry, Euclid uses the "golden ratio" to construct spatial bodies of regular twelve and twenty gons. The essence of this proportion was also considered in detail in the "Timaeus" by Plato. By themselves, the two members, argued the expert in astronomy Timaeus, cannot be well conjugated without the third, for it is necessary that between one and the other a certain connection was born that unites them.

It is in Plato that we find the most consistent presentation of the basic aesthetic formative principles with his five ideal (beautiful) geometric bodies (cube, tetrahedron, octahedron, icosahedron, dodecahedron), which played an important role in the architectural and compositional representations of subsequent eras. Heraclitus argued that latent harmony is stronger than overt one. Plato also stressed that "the relationship of parts to the whole and the whole to the part can arise only when things are not identical and not completely different from each other." Behind these two generalizations one can see a very real phenomenon, tested by time and experience of art - harmony rests on an order deeply hidden from external expression.

The identity of relations and the identity of proportions combine forms that are different from each other. At the same time, the belonging of different relations to one system is spontaneous. The main idea, which was carried out by the ancient Greeks, who laid down methods for calculating harmoniously uniform structures, was that the quantities united by the correspondence would not be too large or too small in relation to each other. So the way was discovered to create calm, balanced and solemn compositions, or the area of ​​average relations. In this case, the greatest degree of unity can be achieved, Plato argued, if the means are in the same relation to the extreme values, to what is greater and to what is less, and there is a proportional relationship between them.

The Pythagoreans viewed the world as a manifestation of some identical general principle, which embraces the phenomena of nature, society, man and his thinking and manifests itself in them. In accordance with this, both nature in its diversity and development, and man were considered symmetric, reflecting in the connections "numbers" and numerical relations as an invariant manifestation of a certain "divine mind". Apparently, it is no coincidence that it was in the school of Pythagoras that not only repeated symmetry was discovered in numerical and geometric ratios and expressions of numerical series, but also biological symmetry in the morphology and arrangement of leaves and branches of plants, in a single morphological structure of many fruits, as well as invertebrates.

Numbers and numerical relations were understood as the beginning of the emergence and formation of everything that has a structure, as the basis of the correlatively connected diversity of the world, subject to its unity. The Pythagoreans argued that the manifestation of numbers and numerical relations in the Universe, in man and in human relations (art, culture, ethics and aesthetics) contains a certain unified invariant - musical and harmonious relations. The Pythagoreans gave both numbers and their relations not only a quantitative, but also a qualitative interpretation, which gives them reason to assume the existence at the base of the world some faceless life force and the idea of ​​the internal connection between nature and man, constituting a single whole.

According to historians, already in the school of Pythagoras, the idea was born that mathematics, mathematical ordering, is a fundamental principle by which the entire multiplicity of phenomena can be substantiated. It was Pythagoras who made his famous discovery: vibrating strings, stretched equally strongly, sound in tune with each other if their lengths are in simple numerical relationships. This mathematical structure, according to W. Heisenberg, namely: numerical ratios as the root cause of harmony - was one of the amazing discoveries in the history of mankind.

since the varieties of musical tones are expressible in numbers and all other things were presented to the Pythagoreans as modeled numbers, and the numbers themselves were primary for all nature, the heavens were a set of musical tones, as well as numbers, understanding of the entire richly colored variety of phenomena was achieved in their understanding by understanding the inherent in all phenomena uniting the principle of form, expressed in the language of mathematics. In this regard, the so-called Pythagorean sign, or pentagram, is of absolute interest. The Pythagorean sign was a geometric symbol of relations, characterizing these relations not only in mathematical, but also in spatial-extended and structural-spatial forms. In this case, the sign could manifest itself in zero-dimensional, one-dimensional, three-dimensional (tetrahedron) and four-dimensional (hyperoctahedron) space. As a consequence of these features, the Pythagorean sign was considered as a constructive beginning of the world and, above all, geometric symmetry. The sign of the pentagram was taken as an invariant of the transformation of geometric symmetry not only in inanimate, but also in living nature.

According to Pythagoras, things are imitation of numbers, and therefore, the whole Universe is a harmony of numbers, and only rational numbers. Thus, according to Pythagoras, the number either restored (harmony) or destroyed (disharmony). Therefore, it is not surprising that when the irrational "destructive" number of Pythagoras was discovered, he, according to legend, sacrificed 100 fat bulls to the gods and took an oath of deep silence from his disciples. Thus, for the ancient Greeks, the condition for a certain stable perfection and harmony was the need for the mandatory presence of a proportional connection or, in Plato's understanding, a consonant structure.

It was these beliefs and geometric knowledge that formed the basis of ancient architecture and art. For example, when choosing the main dimensions of a Greek temple, the criterion for height and depth was its width, which was the average proportional value between these dimensions. The relationship between the diameter of the columns and the height was implemented in the same way. In this case, the criterion determining the ratio of the height of the column to the length of the colonnade was the distance between the two columns, which are average proportional values.

Much later, I. Kepler succeeded in discovering new mathematical forms for generalizing the data of his own observations of the orbits of planets and for formulating three physical laws that bear his name. How close Kepler's conclusions were to the arguments of the Pythagoreans can be seen from the fact that Kepler compared the revolution of the planets around the sun with the vibrations of strings, spoke of the harmonious coherence of various planetary orbits and the "harmony of spheres." Simultaneously, I. Kepler speaks about certain prototypes of harmony, immanently inherent in all living organisms, and about the ability to inherit the prototypes of harmony, which lead to shape recognition.

Like the Pythagoreans, I. Kepler was fascinated by attempts to find the basic harmony of the world, or, in modern terms, the search for some of the most general mathematical models. He saw mathematical laws both in the structure of pomegranate fruits and in the movement of planets. The pomegranate grains personified for him the important properties of the three-dimensional geometry of densely packed units, for in the pomegranate, evolution gave place to the most rational way of placing the largest possible number of grains in a limited space. Almost 400 years ago, when physics as a science was still emerging in the works of Galileo, I. Kepler, we recall, who considers himself a mystics in philosophy, quite elegantly formulated, or, more precisely, discovered, the riddle of constructing a snowflake: “Since every time, as soon as it starts to snow, the first snowflakes have the shape of a hexagonal star, then there must be a very definite reason, for if this is an accident, then why are there no pentagonal or heptagonal snowflakes? "

As a kind of associative digression associated with this pattern, we recall that back in the 1st century. BC NS. Marius Terentius Varon argued that honeycombs appeared as the most economical model for spending wax, and only in 1910 mathematician A. Tus offered convincing proof that there is no way to carry out such a stacking better than in the form of a honeycomb hexagon. At the same time, in the spirit of Pythagorean harmony (music) of spheres and Platonic ideas, I. Kepler made efforts to build a cosmographic picture of the solar system, trying to connect the number of planets with the sphere and five polyhedrons of Plato in such a way that the spheres described around the polyhedrons and inscribed in them coincided with orbits of the planets. Thus, he obtained the following order of alternation of orbits and polyhedrons: Mercury is an octahedron; Venus is an icosahedron; Earth is a dodecahedron; Mars is a tetrahedron; Jupiter is a cube.

At the same time, I. Kepler was extremely dissatisfied with the existence of huge tables of figures in cosmology calculated in his time and looked for general natural laws in the circulation of the planets that remained unnoticed. In two of his works - "New Astronomy" (1609) and "Harmony of the World" (about 1610) - he formulates one of the systemic laws of planetary revolution - the squares of the planet's revolution time around the Sun are proportional to the cube of the planet's average distance from the Sun. As a consequence of this law, it turned out that the wandering of planets against the background of "stationary", as it was then believed, stars - a feature previously unnoticed by astronomers, bizarre and inexplicable, follows hidden rational mathematical laws.

At the same time, a number of irrational numbers are known in the history of human material and spiritual culture, which occupy a very special place in the history of culture, since they express certain relations that are universal in nature and are manifested in various phenomena and processes of the physical and biological worlds. Such well-known numerical ratios include the number π, or "neper number".

One of the first who mathematically described the natural cyclical process obtained in the development of the theory of biological populations (using the example of rabbit reproduction), corresponding to the approach to the "golden ratio", was the mathematician L. Fibonacci, who back in the XIII century. brought out the first 14 numbers of the series, which made up the system of numbers (F), later named after him. It was at the beginning of the Renaissance that the numbers of the "golden ratio" began to be called "Fibonacci numbers", and this designation has its own prehistory, repeatedly described in the literature, therefore we only briefly cite it in the note .

The Fibonacci series has been found both in the distribution of growing sunflower seeds on its disc, and in the distribution of leaves on the trunk and in the arrangement of the stems. Other small leaves framing the sunflower disk formed curves in two directions during growth, usually the numbers 5 and 8. Further, if we count the number of leaves located on the stem, then here the leaves were located in a spiral, and there is always a leaf located exactly above the lower sheet. Moreover, the number of leaves in turns and the number of turns are also related to each other, as is the adjacent number F. This phenomenon in living nature has received the name phylotaxis. The leaves of plants are arranged along the stem or trunk in ascending spirals so as to provide the greatest amount of light falling on them. The mathematical expression for this arrangement is the division of the "leaf circle" in relation to the "golden ratio".

Subsequently, A. Durer found the pattern of the "golden section" in the proportions of the human body. The perception of art forms created on the basis of this ratio gave the impression of beauty, pleasantness, proportionality and harmony. Psychologically, the perception of this proportion created a feeling of completeness, completeness, balance, calmness, etc. And only after the publication in 1896 of A. Zeising's famous work "The Golden Division as the Basic Morphological Law in Nature and Society" a thorough attempt to again refer to the "golden ratio" as a structural one, in the first place - the aesthetic invariant of the meter of natural harmony, in fact, synonymous with universal beauty, the principle of the "golden ratio" was proclaimed "universal proportion", manifested both in art and in living and inanimate nature.

Further in the history of science, it was discovered that not only the ratios of Fibonacci numbers and their neighboring ratios, but also their various modifications, linear transformations and functional dependencies lead to the "golden ratio", which made it possible to expand the laws of this proportion. Moreover, it turned out that the process of arithmetic and geometric "approximation" to the "golden ratio" lends itself to counting. Accordingly, we can talk about the first, second, third, etc. approximations, and all of them turn out to be associated with mathematical or geometric laws of any processes or systems, and it is these approximations to the "golden division" that correspond to the processes of sustainable development of almost all, without exception. natural systems.

And although the very problem of the "golden section", whose remarkable properties as proportions of average and extreme ratios were tried to theoretically substantiate by Euclid and Plato, of more ancient origin, the curtain over nature itself and the phenomenon of this remarkable proportion has not been fully lifted to this day. Nevertheless, it became obvious that nature itself, in many of its manifestations, acts according to a clearly outlined scheme, realizes the search for optimization of the structural state of various systems not only genetically or by trial and error, but also according to a more complex scheme - according to the strategy of a living series of Fibonacci numbers. The "golden section" in the proportions of living organisms was found at that time mainly in the proportions of the external forms of the human body.

Thus, the history of scientific knowledge associated with the "golden ratio", as already mentioned, has more than one millennium. This irrational number attracts attention because there are practically no areas of knowledge where we would not find manifestations of the patterns of this mathematical relationship. The fate of this remarkable proportion is truly amazing. She not only delighted ancient scientists and ancient thinkers, she was deliberately used by sculptors and architects. The ancient thesis about the existence of common universal mechanisms in man and in nature reached its highest general humanitarian and theoretical flourishing during the period of Russian cosmism in the works of V.V. Vernadsky, N.F. Fedorov, K.E. Tsiolkovsky, P.A. L. Chizhevsky, who considered man and the Universe as a single system evolving in the Cosmos and subordinate to universal principles that make it possible to accurately state the identity of both structural principles and metric relations.

In this regard, the fact that for the first time such an attempt to elucidate the role of the "golden ratio" as a structural invariant of nature also made by the Russian engineer and religious philosopher P.A.Florensky (1882-1943), who in the 20s. XX century the book "At the watersheds of thought" was written, where in one of the chapters are given exclusive in their "innovation" and "hypothetical" reflections on the "golden ratio" and its role at the deep levels of nature. This kind of variety of occurrences of ES in nature testifies to his complete exclusivity not only as an irrational mathematical and geometric proportion.

The role played by the "golden ratio", or, in other words, the division of lengths and spaces in the middle and extreme, in matters of the aesthetics of spatial arts (painting, music, architecture) and even in extra-aesthetic phenomena - the construction of organisms in nature, has long been marked, although it cannot be said that it has been identified and its final mathematical meaning and meaning are definitely determined. Moreover, most modern researchers believe that the "golden ratio" reflects the irrationality of the processes and phenomena of nature.

As a consequence of its irrational properties, the inequality of the conjugating elements of the whole, connected by the law of similarity, expresses the value contained in the "golden ratio" a measure of symmetry and asymmetry. Such a completely extraordinary feature of the "golden ratio" allows you to build this mathematical and geometric treasure in a row invariant essences of harmony and beauty in works created not only by Mother Nature, but also by human hands - in numerous works of art in the history of human culture. Additional evidence of this is the fact that the reference to this proportion is carried out in the creations of man. in completely different civilizations, separated from each other not only geographically, but also in time - thousands of years of human history (the pyramid of Cheops and others in Egypt, the Parthenon temple and others in Greece, the Baptistery in Pisa - the Renaissance, etc.).

- derivatives of the number 1 and its doubling by additive addition, give rise to two famous in botany additive rows. If numbers 1 and 2 appear at the source of a series of numbers, Fibonacci series appears; if at the source of a series of numbers there are numbers 2 and 1, Luke's row appears. The numerical position of this pattern is as follows: 4, 3, 7, 11, 18, 29, 47, 76 - Luke's row; 1, 2, 3, 5, 8, 13, 21, 34, 55 - Fibonacci series.

The mathematical property of the Fibonacci series and the Lucas series, among many other amazing properties, is that the ratios of two adjacent numbers in this series tend to the number of the "golden ratio" - as you move away from the beginning of the series, this ratio corresponds to the number Ф with increasing accuracy. In this case, the number Ф is the limit to which the ratios of neighboring numbers of any additive series tend.

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

In the 1850s, a crisis of academic painting arises in England and France, fine art requires renewal and finds it in the development of new directions, styles, tendencies. A number of movements emerged in England in the 1860s-1870s, including aestheticism, or an aesthetic movement. Artists - aesthetes found it impossible to continue to work in accordance with classical traditions and patterns; the only possible way out, in their opinion, was a creative search outside the bounds of tradition.

The quintessence of the ideas of aesthetes is that art exists for art and should not be aimed at moralizing, exaltation or anything else. Painting should be aesthetically beautiful, but plotless, not reflecting social, ethical and other problems.

Sleepers by Albert Moore, 1882

At the origins of aestheticism were artists who were originally supporters of John Ruskin, who were part of the Pre-Raphaelite Brotherhood, who by the early 1860s had abandoned Ruskin's moralizing ideas. Among them are Dante Gabriel Rossetti and Albert Moore.

Lady Lilith by Dante Gabriel Rossetti, 1868

In the early 1860s, James Whistler moved to England and became friends with Rossetti, who led a group of aesthetes.

Symphony in White # 3, James Whistler, 1865-1867

Whistler is deeply imbued with the ideas of aesthetes and their theory of art for art. Whistler attached a manifesto of aesthetical artists to the statement of claim filed against John Ruskin in 1877.

Whistler did not sign most of his paintings, but painted a butterfly instead of a signature, organically weaving it into the composition - Whistler did this not only during the period of his passion for aestheticism, but also throughout his entire work. Also, one of the first artists, he began to paint frames, making them part of the paintings. In Nocturne in Blue and Gold: The Old Bridge at Battersea, he has his signature butterfly patterned on the frame of the painting.

Other artists who accepted and embodied the ideas of aesthetes - John Stanhope, Edward Burne-Jones, some authors also refer to Frederick Leighton as aesthetes.

“ Pavonia” , Frederick Leighton, 1859

The difference between aestheticism and impressionism

Both aestheticism and impressionism emerged at approximately the same time - in the 1860-1870s; aestheticism arises in England, impressionism - in France. Both are an attempt to move away from academism and classical models in painting, and in both, the impression is important. Their difference is that aestheticism transformed an impression into a subjective experience, reflecting the artist's subjective vision of the aesthetic image, and impressionism transformed an impression into a reflection of the momentary beauty of the objective world.

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The article examines the principles of the formation and functioning of the artistic picture of the world in the context of a person's spiritual and aesthetic values. It has been determined that as a result of the projection-refraction of aesthetic values ​​in art, the artistic picture of the world acquires the qualities of a cognitive tool, a pragmatic resource that regulates social relations, norms and values. The coordinator here is the artist, who simultaneously expresses the attitudes of the mental culture and the author's concepts of value. As a result, a variety of subjective worldview and aesthetic assessments arises on various social issues related to the life of a particular mentality. Thus, the aesthetic consciousness in society adheres to mental attitudes, but at the same time it manifests itself through the ambiguity of interpretations of the ideals and value principles of cultural subjects. As a result, the artistic picture of the world of society is based on the diversity of the author's artistic and aesthetic expression. The author comes to the conclusion that the integrity of her model depends on the degree of change in aesthetic attitudes in society.

subject-object factor

human life world

sociocultural space

functioning of the artistic picture of the world

ideological values

spiritual and aesthetic values

aesthetic consciousness

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4. Volkov V.I. The value aspect of art as a subject of concrete - sociological research / Artistic perception. Collection under. ed. B.S. Meilakh. - L .: Publ .: Nauka, 1971. - P. 93–98.

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8. Mineev V.V. Atlas on the history and philosophy of science: a textbook for university students. - Krasnoyarsk: Krasnoyar. state ped. un-t them. V.P. Astafieva. - 2013 .-- 120 p.

9. Mineev V.V. In search of the foundations of science: the problem of rationality // Bulletin of the Krasnoyarsk State Pedagogical University. V.P. Astafieva. - 2007 - No. 3. - P. 55–61.

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11. Nikitina I.P. Philosophy of art: textbook. −M .: Omega-L, 2008 .-- 560 p.

12. Pocheptsov G.G. Communication theory. −M .: Refl-book, K .: Vakler, 2001 .-- 656 p.

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14. Jung K.G. The phenomenon of spirit in art and science. - M .: Renaissance, 1992 .-- 320s.

In modern research, the issues of the state of art and the ways of its development are of concern to specialists from various fields of knowledge. The main question here is Hamlet's eternal "to be or not to be." It is due to the contrasts of the modern world, manifested through the diversity of forms in human activity, and by the flurry of information that is not always even comprehended, but nevertheless begins to penetrate everywhere. At the same time, the boundaries of the spiritual and moral values ​​of society are erased, problems of the potential of the integral content of culture arise. All these processes are clearly reflected in the modern art sphere. It appears as that peak, comprehending which, you begin to deeply understand what is happening not only in art, but also in a particular society and in the world, since it is global today, and therefore transparent in its manifestations. Today, the problematic nature of art is due to the sharp contrast in the ratio of classical and innovative forms in reflection. In the works of V.V. Bychkov's aesthetics, a certainty is indicated that not all modern creative products claiming to be artistic should be called art, some of them refer only to art practices. In fact, such a distinction is already nothing more than a search for support in modern cultural chaos, and not only artistic. First of all, it is a search for the core in what is behind art. And today this is the way of defining, placing emphasis in the values ​​of spiritual content in culture. At the same time, the spiritual atmosphere in society is always important for the normalization of relations developing in it. C. Jung notes the special significance of the artistic in the context of cultural time, saying that this reflection "brings with it what the modern ... spiritual atmosphere most needed." This significance is due to the fact that the values ​​of the artistic order as a result of human creativity are directly linked to his aesthetic and ideological values.

Purpose of the article: to determine the principles of the influence of aesthetic values ​​on the formation of an artistic picture of the world.

The very process of artistic reflection of the world is closely related to aesthetic perception and aesthetic consciousness, which is considered by A.L. Andreev as "the spiritual ability to give objects and phenomena an aesthetic assessment, to form an aesthetic attitude towards them and to judge their aesthetic merits." In turn, judgment about objects always implies comparison, where certain reference points are taken as a basis. In an aesthetic context, this is an attitude towards the ideal as the beautiful, the sublime. It contains a person's aspiration for the best, a kind of dream of a more perfect, spiritually fulfilled. Through the historical manifestation of the monuments of art, we observe how, in the aesthetic relation to the world, value ideas have been developed about what is beautiful or sublime, and what is ugly, anti-aesthetic. In our opinion, this alignment in the assessment of the real world and cultural products has not disappeared under the influence of sociocultural transformations. It remained organic for the perception of the world due to the fact that in such a contrasting, antinomical assessment, we get a view of things and phenomena, capable of coordinating and ordering our attitude towards them, directing life's actions. Therefore, the aesthetic attitude of a person to the surrounding reality is considered as a value attitude. Aesthetic assessment correlates with the values ​​of the worldview and socio-cultural order, when the system of values ​​of a certain culture covers all its space and types of human activities, which include the sphere of art. This is confirmed in his research by V.I. Volkov: "The axiological approach to art is fully consistent with its social, aesthetic, cognitive essence, for art affirms the social aesthetic ideal through artistic-figurative reflection and assessment of reality." On the basis of the connection between art and aesthetic human activity, its multifunctional manifestation in society, the ability to reflect different areas of this activity, also arise.

So, the integral function of the aesthetic sphere is to accumulate spiritual and moral values ​​for a person in society. Therefore, when promoting these values, it also takes on the role of an indirect cognitive toolkit designed to regulate value orientations. Since the artistic is intended to reflect the aesthetic content of mental culture, accordingly, art in this context receives the qualities of a phenomenon that has a resulting and ascertaining order. Thus, it reflects and promotes the purpose of the aesthetic in society through a variety of artistic forms. The aesthetic, reflected in art, is summarized in the artistic picture of the world. Like the picture of the world, it represents the quintessence of a person's relationship to the world in the form of its artistic and aesthetic interpretation. Therefore, the model of artistic attitude to the world as a derivative of the picture of the world and art, in our opinion, should be considered in the aspect of aesthetic cognitivism, which determines the significance of the artistic: 1) as a form of cognition, 2) as a regulatory and pragmatic resource, 3) as a fixer of the degree of awareness of the alignment relations in society. This approach allows you to streamline views of artistic processes, systematize them through the concept of a holistic model of the artistic picture of the world. Specifically, its consistency is built up in the reconstruction of art, more precisely, in the advancement from the analysis of works of art to the identification of the picture of the world that lies at their basis. The mechanism here is entirely aimed at revealing the relationship of a person to the world, hidden in the sign-symbolic system of art. In its content, the aesthetic worldview freely interacts with the rationality of worldview formations, respectively, and its structure is based on the connection between two types of categories: philosophical and worldview and artistic and aesthetic. Through these categories, the character of the aesthetic attitude to the world, ideals and norms for a person is expressed.

At the same time, aesthetic values, reflected in the artistic picture of the world, indirectly play the role of regulators of relationships in mental culture. They help to maintain unity in the system of subjective-object-subject relationships and are focused on resolving contradictions in the structure of the general integrity of relations in society, assuming that the preservation of differences in relations between the subject and the object contributes to the emergence of a conscious organization of their unity and conformity. The subject-object aspect is closely connected with the creative manifestation of a person, with the factor of its significant 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 strength of the culture core, which holds the conceptual sphere of worldview and aesthetic values. At the same time, the core is surrounded by a peripheral socio-cultural space, which, due to its connection to living life processes, is mobile and changeable. The artist as a subject of culture is associated with these two sociocultural dimensions. His creative impulses, at the level of subtle intuition, catch all the connections of the relationship. True creativity is truthful, therefore, the values ​​promoted through it sharpen perception and actualize spiritual fulfillment. So the artistic, being a kind of refraction of the aesthetic in the field of art, embodies "the unity of the aesthetic contemplation of the world and artistic talent realized in a work of art." The personality of the artist, his worldview culture determine the strength of his ability to influence society, the ability to take on 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 artist's creative process. The artist evaluates the phenomena of reality through the prism of aesthetic values, when the facts, events of life are reflected from the angle of his vision and concepts. The work serves as a conductor of his value attitudes and actualizes aesthetic experiences. The mechanisms of the artistic embodiment of the systematization of norms are clearly presented in the traditional forms of a literary work. Based on the observations of G.G. Pocheptsov, "literature (like ritual) can be regarded as a norm-generating structure." The norms here are introduced as a result of punishing the negative and rewarding the positive. Thus, the situation is ordered in favor of the introduced norm, where everything that is accidental is organized in the text in the course of the development of the plot. On the basis of the specific characteristics of the heroes, the author's assessment of the circumstances, and others, a systematic approach is formed. The author's systemic view, formed in the works, is reconstructed with the help of the artistic picture of the world.

When considering the artistic picture of the world as an accumulator of aesthetic consciousness in the socio-cultural space, we first of all encounter a diverse field of interests: on the one hand, it is one - at the level of an integral society, on the other - bipolar - at the level of the subject-author and subject-recipient, and simultaneously multipolar and multidimensional - taking into account the fact that there are many subjective assessments in society.

At the level of the general social context, the value attitude is based on a schema-representation of the perfect, ideal, or, on the contrary, not corresponding to these ideals. Thus, works of art in society acquire value for a person as he becomes involved in the process of his social, correlated with his spiritual needs, goals, with the idea of ​​an aesthetic ideal. On this basis, the author's artistic picture of the world will also represent a socially determined artistic taste and aesthetic assessment. But one of the topical issues for researchers today is the question of the extent to which the social influences the freedom of the author's expression, to what extent the author's ideas and taste are consistent with the ideals of society, with those evaluative requirements of society that are established for the artistic and aesthetic reflection of the world. At the same time, the politics existing in society always strives to subordinate the artistic sphere as a sphere of powerful influence on a person. But, as a rule, true artists do not want to lose their independence in their work. A political theme can be related to an artist if he shares its ideology or, on the contrary, seeks to oppose it. In classical works, legal values ​​and relationships became the subject of figurative comprehension quite often. The artist, in turn, aims to openly interact with society within the framework of his identity with society. Accumulating the thoughts and attitudes of society from the inside, he is a kind of harbinger of what is happening. It is important for an artist to strive to be heard, seen, understood, i.e. they empathized with him. It is addressed to the recipient person, who is also interested in defining his social position. Therefore, back in the early 1970s. art analysts noted that the artist increasingly acts as a researcher of changing social processes. In turn, sociological research turns to the specific ideological and artistic content of works of art as a specific material in order to discover trends in the spiritual development of the individual and society.

Another position is the bipolar level, where the formation and functioning of aesthetic consciousness in the sociocultural space is carried out according to the principle of dual expression, represented by the subject as the author of the work of art and the subject-recipient. According to A.N. Tolstoy, "who perceives art is the same creator as the one who gives it." On this basis, the artistic picture of the world is formed on the combination of the aesthetic values ​​of society and the author. But it functions already at the level of recipients who are members of a given society or representatives of other cultures. Through contacts with art, they are all introduced to aesthetic values, of course, to the extent of their ability 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 the issues of the art of their time are somehow raised. The attitude to contemporary artistic phenomena can be learned from contemporaries from direct communication and on the basis of special methods that take into account sociological aspects. For example, within the framework of the dialectical approach, social research is built taking into account quantitative and systemic methods. The first method subsumes the qualities of personal or social artistic taste under "a set of discrete assessments of art, judgments about artistic values." The second method presents artistic taste as a structural element of aesthetic consciousness, which acts "in social systems of various levels: society as a whole - social groups and strata - an individual included in a particular social community." At the same time, the individual does not dissolve in the social, since the study of certain social relations of people means the study of "real personalities, from whose actions these relations are composed."

In general, the aesthetic attitude is associated with the problem of artistic perception and communication skills of art and, as a consequence, with the determination of the social functions of the artistic picture of the world. Therefore, this category is not only a fixer of artistic processes in society, but also an exponent of its 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, supporters of unrealistic movements had the opinion that art is uncommunicative or has a small degree of sociability, since a small number of people communicate with genuine art and this, as a rule, is the elite of society. At the same time, commercial art is focused on the unpretentiousness of aesthetic tastes, and, accordingly, serves as a means of spiritual devastation. Proponents of realistic tendencies, on the contrary, believe that realistic art is open to the viewer and seeks to convey to him its value attitude to the world, taking into account different tastes and attitudes. In the work "Time and Life of Literary Works" MB Khrapchenko reveals an important aspect in the perception and assessment of works of art. In particular, he speaks of the emergence of a large number of research works of the so-called petty-historical and empirical-commentary type, which cause "dissatisfaction, so to speak, with a pure socio-genetic study of literature." At the same time, the author himself raises the problem of artistic and aesthetic influence on the recipient, on his evaluative attitude, and emphasizes the "need for a broad study ... of the living functioning" of works of art in the socio-cultural space.

Continuing the thought about living functioning, one should turn to the important aspects of the formation of a work of art from the point of view of its social relevance. It is primarily due to the artist's connection with the sociocultural context, which is structurally represented by two levels: “social space” and “life 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 very subjective component in the content of culture arises at its other level - in the space of the life world, where "the horizon of all the meanings and possibilities of consciousness, a priori structures of pre-predicative experience, from which the values ​​of culture then grow" are hidden. These layers in the space of culture surround the subject, become basic for his picture of the world, which includes in its integrity "a variety of forms and methods of cognition." Accordingly, they are refracted in the artistic picture of the world. The world of life is a living ground for works of art. When an artist, in contact with this world, acts in accordance with his inner conviction in conveying the truth of life, raises and generalizes the meanings of this world, the work reaches the level of such artistic heights that even blow up the consciousness of famous artists. And here their position is defined as the position of recipients of a special category, representing different cultural times. So, in the ХУШ century. Voltaire, characterizing the work of W. Shakespeare, declares about the heterogeneous manifestations of his work: on the one hand, he calls him the father of English tragedy, and, on the other, the father of barbarism: “His high genius, a genius without culture and without taste, created a chaotic theater” ... In our opinion, the value of Shakespeare's work lies in the fact that it presents us with an artistic picture of the world in the open context of its creative attitude, the creative method of the writer. He did not strive for the refinement of life, its artificial domestication, but united all human contradictions in their high impulses and low manifestations. From this Shakespeare gained strength. His work breaks the framework of the usual forms of expression of life and aesthetic values. This is carried out by changing the space-time boundaries, rhythm, when the social space with its well-established universals begins to openly invade the space of the life world, in which there is an expression of feelings, its own dynamics, etc. They are usually spontaneous. Therefore, in Shakespeare, comedy and tragedy, buffoonery and irreparable loss go alongside. Here we meet with a clear example of how chaos manifests itself through the author's attitude to life and through the ratio of the beautiful and the ugly in art, but in an unusually contrasting, emotionally heightened form. Shakespeare's work turned out to be significant, and his assessment was developed in history. For romantics, his works became an example of "unusually bright, bold art, rejecting all kinds of canons, preconceived scholastic rules." At the same time, the romantic Byron "was very critical of Shakespeare." LN was also critical of him at one time. Tolstoy, subjecting his works to sharp criticism. And all this happened because Shakespeare was a writer outside of tradition. But this does not mean that his works cannot be called a holistic vision of the world. His work reveals to us an artistic picture of the world, built on the integrity of sensory perception, therefore it has become a model of such artistic images that do not have a certain cultural space and time, they live outside these dimensions by the standards of universal humanity. Of course, Voltaire, who adheres to the classical canons of the Enlightenment, did not understand the free exit of contrasting life intentions into the artistic and aesthetic. In turn, Voltaire's assessment expresses a position predetermined by time and views on art that existed during the Enlightenment. The ideas of the enlighteners (Voltaire, Rousseau, Diderot, Lessing) were aimed at educating a new citizen. Art, in their opinion, should be guided by the reproduction of the realities of life and the imitation of "natural nature". The enlighteners sought to take art out of the framework of classicism and direct it along the path of realistic tendencies. They solved the problem of overcoming the contradictions between elite and democratic in art through the sphere of education of taste. But, judging by the opinion about Shakespeare, Voltaire the Enlightener was not ready for open realism and himself found himself in a borderline situation, between elitism and democracy, therefore, Shakespeare's frankness simply shocked him. Shakespeare's artistic reflection of the world is holistic and sharply contrasted due to the fact that it is created by classical measures of aesthetic values ​​- from the ugly to the beautiful. Through his imagination, he makes active the aesthetic value content, awakening and filling the spiritual world of a person in society. This example clearly shows that the artistic picture of the world is able to exist outside of time and its ideological attitudes due to the fact that a true artist sees further and feels deeper his time. At the same time, philosophical ideas that interpret the paths of the development of art did not always keep up with the development of the artistic due to a certain dogmatism and belonging to the elite sphere of culture.

So, the principles of the formation and functioning of the artistic picture of the world are associated with the context of a person's spiritual and aesthetic values. In turn, aesthetic consciousness is based on the synthesis of ambiguous ideals and values ​​of the subjects of culture. As a result of the projection-refraction of aesthetic values ​​in art, the artistic picture of the world acquires the qualities of a cognitive tool, a pragmatic resource that regulates social relations, norms and values. The coordinator here is the artist, who simultaneously expresses the attitudes of the mental culture and the author's concepts of value. Due to the multidirectionality of the presented positions, the artistic picture of the world becomes ambiguous. As a result, a variety of subjective worldview and aesthetic assessments arises on various social issues related to the life of a particular mentality. As a result, aesthetic consciousness is built on the synthesis of multivalued ideals and value principles as invariant in culture, respectively, and the artistic picture of the world of society becomes multivalued. Behind the aesthetic assessment lies a complex content, which simultaneously reveals assessments from the point of view of moral, socio-political and other ideals. While maintaining the differences in the relationship between the subject and the object, an exit to the conscious organization of their harmonious unity and conformity is carried out. The author comes to the conclusion that the integrity of the model is built on the basis of invariant models, while stability depends on the degree of change in aesthetic attitudes in society.

Reviewers:

Svitin A.P., Doctor of Philosophy, Professor, Professor of the Siberian Federal University, Krasnoyarsk;

Mineev V.V., Doctor of Philosophy, Professor, Professor of the KSPI named after 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. - No. 2-1 .;
URL: http://science-education.ru/ru/article/view?id=21325 (date of access: 07/09/2019). We bring to your attention the journals published by the "Academy of Natural Sciences"