Anna Artist: the Crisis comes when you don't know what you're doing.

[Peter]

Sergey burly, at the same age as George Bernard Shaw I can say only one-design has become a way of thought (!) Contemporary fine art ...-academy graduates im.Uorholla.
This is a logical extension ..
Beauty and the future.
>

[Pablo]

Сообщение от Peter

This is a logical extension .. Beauty and the future. >

That is very sad > In my opinion the design itself does not carry any spiritual component , moreover, it does not carry even human emotions, it is created. Perhaps this is the way to an objective art. But it is one of the tasks of painting - subjectivity !

[bykinist]

So, blah-blah-blah aside. We turn to science.

Surprisingly ..., vodoleykina, without even knowing, but perhaps feeling (!), Caught - in a sense - crux (the essence) issues discussed in the title of your topic ...
Anyway, the 22-year-old artist talking about the crisis in the works, is what it says ...

Prozersky VV
DESIGN - Subject Field AESTHETICS XXI CENTURY
 
There is much talk of a crisis of aesthetics, but it is believed that this crisis originated from the birth of aesthetics. Under the crisis according to the Greek etymology of the word refers to the need to take decisions in a difficult situation, a situation
choice of ways. We ask the question: when Baumgarten introduced to the philosophy of this new term - aesthetics, could he imagine how many problems and misunderstandings in the future give rise to invention of coinage? Basically Baumgarten moved into philosophy, content
rhetoric, which includes poetry and poetics we all now renamed into something new and vaguely understood - aesthetics. Other
Arts, except verbal, Baumgarten does not count, and the spread of the term aesthetics on the entire area of ​​Fine Arts
not belong to him, and his followers - Mayer, Sulzer, etc. However, we can say that the "inventor" of aesthetics raised
status of poetics, and raised this paraphilosophical science, as it was in antiquity, a philosophical discipline.

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The problem was that the Greek concept aystezis, designating a feeling, a feeling that is placed in between the doctrine of the soul
Logos (reason) and pathos, or pathos (passion, emotions). Accordingly, the knowledge given by aystezis - the Latin equivalent of Sensus - interpreted as "vague", not reaching the clarity and distinctness is reasonable because it is obscured by passions, from
which was not free. Baumgarten - to his credit - magnified sensory perception, saying that it could give the truth, if it reaches perfection, and perfection of sensory perception is the beauty, carried out in art. Perfectio cognitionis sensitivae est pulchritudo.

But how to understand this double entender? If aesthetics - the science of sensory knowledge, giving sensitive truth - the truth of the logical equivalent, the aesthetics is nothing more than a symbol Greek term sensory level of cognition, rather studied in classical philosophy. In this case, art can also be interpreted as a cognitive activity at the level of sensory images that subsequently happened. But if to emphasize the perfection of sensory perception, the art is, above all, capacity-beauty, not knowing the truth. In this case, it is reasonable to Hegel said, "name" aesthetics "unfortunate and is superficial," and the science of beauty is more suitable term kallistika. [1, 79] However, since the word "aesthetics" has already established itself in ordinary speech, Hegel agreed to keep it to refer to a course of lectures on the philosophy of art. In a dialectical system of aesthetics Hegel tried to connect with the beauty of truth, defining the latter as an idea or truth in sensuous form. But in the future, his dialectical synthesis collapsed, and the union of beauty with truth not held. The confusion caused by an use of the word "aesthetics", caused irritation in one of Hegel, but his contemporaries. Here is unflattering words August Schlegel said in her address aesthetics - an obscure word, followed by "hiding many meaningless statements and the vicious circle of reasoning that it is high time to expose" [2, 57].

There is another solution to the question, what should be engaged in aesthetics. If the term "aesthetics" in accordance with its Greek etymology indicates the scope of sensuality or feelings, he can not have anything to do with neither the knowledge nor the
beauty, but only indicate a person's ability to get pleasure in sensual contemplation. But are all the pleasure derived
in this way, can be considered aesthetic? British aesthetics of XVIII century, followed by Kant is adamant that no, not all, but only those that are distanced from bodily pleasures, but not as the pleasures of knowledge or moral consciousness.

The aesthetics of Kant, Hegel and romanticism cozies secessionism states as purely aesthetic sense and spiritual experiences of the rest of the sensual pleasures as inferior by nature and not worthy of attention philosophy. Kant, however, are allowed in the field of aesthetic (but not perfect!) Feeling nice, for example, the exquisite tableware, Table Talk and the accompanying background music. Other representatives of German classical philosophy in this respect were more rigoristichnymi.

We now turn to the present. Take a traditional set of aesthetic categories, wandering from one textbook on aesthetics in
other: beautiful /ugly, sublime /low, tragic /comic. Their genesis is quite transparent. Not so hard to grasp the origins of the first two pairs of categories of styles oratory, and the last couple of - the tragic and the comic with the concomitant experience of catharsis - the genre of dramatic poetry. In other words, the aesthetic category, being themselves otreflektirovannymi and generalized experiences indicate the boundaries and rules for some of the big world of human emotions are selected by those who receive the title of aesthetic. Network categorical system of aesthetics is so fine that range, missed through her senses, becomes extremely narrow, much poorer than that can give art, not to mention the multi-color gamut of life experiences. Hence the idea of ​​going from Lessing, and picked up by Chernyshevsky, consider the content of art is not perfect, and general interest, that is, not aesthetic, and all that is of public importance. Assigned the same aesthetic sphere shape.

But out of the term "aesthetic", should not need a narrow range limit it covers feelings.
Last inevitably leads to the fact that any aesthetic theory, following this path, becomes normative.
Tracing the development of aesthetics in the XIX-XX centuries, we notice the existence in it and another trend: the gradual overcoming compulsive normativism, that is, the desire enclosure 'elite' aesthetic feelings of the others. The new point of view on the world of the senses appeared in the transition from classical to non-classical aesthetics and postnonclassical.

Think about the aesthetics associated with the "philosophy of life." It influenced by Nietzsche, and even more Guillot place rehabilitation of human body, all human senses, loss of vision and hearing benefits in relation to other human senses derived from the time of antiquity. Aesthetic experiences available to all field of human emotions, including olfactory, haptics and gasticheskie. In the next century, these ideas were picked up in France Sh.Lalo [3], and we have A. Lunacharsky. [4]

At the beginning of XX century the idea of ​​service to the art of living pushed him mimetic position and sent to a direct interference.
That was the theory and practice of "Soviet avant-garde," the 20-ies of the last century, reaching for a "politicization of aesthetics" in Soviet Russia and the "aestheticization of politics" in Germany 30's (as defined by the processes V.Benmin). By mid-century, these ideas are transformed into a "political aesthetics" Dyufrenna "aesthetics of existence" Foucault's "aesthetics of solidarity" Rorty, "aesthetics of everyday life" - Welch, Schulze Dzemidok, "Aesthetics of Sports" - Gumbreht, aesthetic environment - "Environnement "- Berleant, Sepanmaa" somaestetiku "going from Dewey and found a continuation in Shusterman, aesthetics, technological media - Virtualistics. (This list can be continued.)

It is understandable that so many different directions in aesthetics, not converging with each other in major issues due to the ambiguity of pluralism and cultural phenomena of postmodernism, with whom they have business. Still, there really can be considered
Availability pictures crisis that is at the crossroads of aesthetics, which lost its unity and facing the question of the choice of direction for further movement to avoid dispersion and dispersion forces. The point is not to create a cocoa something general theory or system
- Time metanarratsy or meganarratsy passed - we need some common principles and methods. I think they are not because the present
postnonclassical, in scattered in different directions aesthetics, has not defined its subject matter, and in this respect it plays classical aesthetics. Therefore, the challenge is to find a subject of research of modern aesthetic science, which would unite all directions and thus would bring her out of the crisis. To clarify the meaning of a given problem turn
back to the origins and sources of aesthetics.

Aesthetics did not come because it was opened or invented Baumgarten. Its merit, rather, that he found the right words for the already-existing, but unnamed phenomenon. Actual emergence of philosophical aesthetics in the XVIII century facilitated a convergence of several factors. First, picking up various activities before scattered among the various arts - free and
mechanical - into a single unit, called "fine art", the ability to express feelings, occupying a middle position between the spiritual, you know, when - religious, and sinful - carnal. Second, the emergence of special socio-cultural group - "intellectuals", the intelligentsia, the composition of the graduates of European universities, academies, representatives
"Liberal professions", formed part of the aristocracy and urban elite, that is, the public, which has developed and free
world of the senses. This is the established secular and spiritual formation of feelings just meeting the new art. Hence there was a need
appearance of such a philosophical discipline, development of which was subject to a special kind of being trapped between the ideal and the material, and therefore does not cover the machine previous philosophy. In this kind of life was a new-found self-contained
a work of art, bearing a special self-contained world with its own space and time, with its systems of feelings, unlocking
life experiences of everyday tasks that remain beyond the scope or the ramp (in the theater), the threshold of the museum, theater or
concert hall. Focusing on the structure of an individual work of art world, as well as species-genre structure of the art world in general, in its internal and external relations of the culture and society, led to the formation of aesthetics as philosophy of art.

Picture of the current state of aesthetics seems to reverse the one that existed at the time of its formation. Then there is the consolidation of the art world in a particular socio-cultural institution, a structural unit that are autonomous ("framework"), art. Now we see the disintegration, and even spraying of the art world between
art practices and blackout leadership of autonomous work, before occupying the front position in the artistic culture. Thus, the object of study of aesthetics was broke up into its component parts scattered among other intellectual and practical training, leading, respectively, and aesthetics in a diffuse state.

Aesthetics come out of this state, and will meet in the new entity, as to learn a new subject of study, and you can see that he has already
is in the process of consolidation. Under this new subject, a place to stand up classic autonomous works of art, I mean the design is in a state of having its identity. (Recall that the condition and factor of aesthetics in the XVIII century was begun two centuries before this point identity of Fine Arts). Design, to use the expression A.F.Loseva represents meonalnoe that is flowing being, so it is very difficult to develop any of its final definition. Thanks to work by making a philosophical theory of design [5] that displays it beyond the limited definitions, which were given to design in the past, such as the ICSID Congress in 1964 [6], it is now possible to give it a broader definition. It may sound something like this: the design - a method that combines a variety of activities that have a common focus on the emotional intensification of all sides of human life, introducing cultural values ​​of moments using different tactical ways to achieve this goal, according to the material, situations and other socio-cultural factors.

Now the design is split up into two groups - design objective form and design of information processes. In the future, it can be assumed, this division will be illegal, as is now clear that any design process involved in ordering informative passed in purely iconic and symbolic and substantive ways. The more this process will increase in the information society. SS Averintsev responding to the statement that the emergence of industrial society can not be universal, which would be able to "learn everything" [7, 341], G.N.Lola writes: "But when his face revealed the post-industrial era, the looming figure designer, who was not so easy to try to learn everything, but smart enough to grasp all, placing it all into place, or in other words, coordinating cultural and information flows "[8, 215]. Consequently, the design is not enough to call the project activity, it performs real Interpreter mission, as it creates a communication field from a different material, using the most unexpected and techniques. The design is such activity, which goes beyond the specific specifications of art, and has an "omnivorous", which can cover the entire field of aesthetic, which is understood as the universality of human sensory manifestations in an infinite variety of life situations. Therefore, it can become and is becoming a subject of interdisciplinary research aesthetic, tightening its field vectors in scattered in different ways by schools of modern aesthetics.

Notes
1. Hegel G.F.V. Lectures on aesthetics. V.1. SPb., 1999.
2.Tsit. by: Rancière Sharing sensual. St. Petersburg, 2007.
3.Lalo Ch. Notions d `esthetique. Paris, 1952.
4.Lunacharsky AV Through positive aesthetics. //AV Lunacharsky Works in 8 volumes. V.7. Moscow, 1968.
5.Lola GN Design. Metaphysical experience transcription. M., 1998.; Mosorova NN Design philosophy. Ekaterinburg, 2001.
6.Glazychev V.M.Dizayn as it is. M., 2006.
7.Averintsev SS Rhetoric and the Origins of the European literary tradition. , 1996.
8.Lola GN Design. Metaphysical experience transcription. Moscow, 1998.

[artcol]

Сообщение от bykinist

Prozersky VV

DESIGN - Subject Field AESTHETICS XXI Century

The problems outlined correctly.

Much sartikulirovano correctly.

But only in respect of the subject article - aesthetics.


Any so-called
"Crises" to overcome the "super-".

[bykinist]

Сообщение от artcol

But only in respect of the subject article - aesthetics.

artcol, I think you do not quite get the point of the article. Remember, science is ontoligichesky character.
Understanding the issues (any) is not possible without the study of root causes and without implementirovaniya methodological approach. The theory of a "continuum ".

[artcol]

Сообщение от bykinist

artcol, I think you do not quite get the point of the article. Remember, science is ontoligichesky character .

bykinist, he also stated in the title >

Design as a product of creative activity is the medium. Wednesday multifaceted . Aesthetics - uzkoogranichena . Hence the crisis and the way out.

[bykinist]

Сообщение от artcol

Any so-called
"Crises" to overcome the "super-".

Not quite agree.
Super-- forcing.
Dangerous.
The same as, for example, a revolution.
Here, apparently, the difference in worldview.
And it is a conscious, and most importantly informed choice.

[artcol]

Сообщение от bykinist

do not quite agree. Super- - forcing. Dangerous. The same as , for example , a revolution. Here, apparently , the difference in worldview. And it is a conscious , informed choice and above .

Super- - is Gurdjieff term. He is big and deep . Revolution - this destruction, " super- " - directed creation including something new, but mechanistic forcing there another principle , supposedly alchemical >

[bykinist]

Why then removed our discussion


*****


SW.
Admin.
- Remove pliz this message - all normal.
Thank you!

[artcol]

Сообщение от bykinist

Why do you have cleaned our discussion

In what sense?