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

St. Petersburg 2006

The work was done at the Department of Philosophy

SEI HPE "Karelian State Pedagogical University"

SCIENTIFIC DIRECTOR-

Candidate of Philosophical Sciences, Associate Professor OVCHINNIKOV YURIY ALEKSANDROVICH

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 - "Sh £. hours" at the meeting of the dissertation council D.212.199.10 for the defense of dissertations for the degree of Doctor of Philosophy at the Russian State Pedagogical University named after A.I. Herzen 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 Philosophical Sciences, Associate Professor

A.Yu.Dorsky

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 cultural paradigms and the resulting changes in the aesthetic consciousness of society and man 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 a person with a high degree of freedom, independence and responsibility as the highest value. A change in the geopolitical situation, a change in the technological structure, the growth of communications led to significant changes in the space of life modern man 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 development of a person in today's 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, and also to experience the so-called “joy of recognition” in perceived forms, receive aesthetic pleasure. Therefore, all objects of the surrounding world are subject to aesthetic assessment, which forms a person's ability to perceive the environment in an orderly manner and remember what is perceived, i.e. “a holistic vision should include an aesthetic beginning.”2 This factor of aesthetic perception leads to an active search for information and significantly increases a person's social adaptation in the world around him. Consequently, the formation of a single holistic universal aesthetic picture of the world is a necessary condition for the existence of a person in the world.

In theory, one of current trends consists in putting forward, in addition to traditional classical concepts, many 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 diversity of phenomena and images of modern society, art and nature. The aesthetic category plays an important role here, the development of which led to the emergence in aesthetics of the research principles of relativity, polysemy, polymorphism of values, as well as the tendency of aesthetics to grow into hyperscience, which combines philosophy, philology, art history, cultural studies, semiotics, synergetics and globalistics.

Similar tendencies of generalization and deepening of the worldview, as well as the methodological foundations of cognition, are manifested in all areas of humanitarian and natural science thought. Thus, at the beginning of the 20th century, in connection with the problems of the worldview crisis in physics and philosophy, the concept of a universal picture of the world3 began to take shape, which later received a multifaceted development at the philosophical and theoretical level.4

Scientists from various 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, they described special, or particular scientific, pictures of the world. It turned out that scientific theoretical knowledge is not a simple generalization of the data of experience, but is a synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, elegance, harmony of theoretical constructions). According to Einstein, a scientific theory reflects physical reality only when it has internal perfection. Consequently, in the formation of 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 realized in their relation to its whole and comprehended through unity as a whole. Here, all 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 integrity 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 its essence to the utmost, to look for its 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 shaping the worldview of future specialists8, the practical tasks of education in connection with reforms in this area emphasize the relevance of the chosen topic.

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

The degree of development of the problem

The concept of a picture of the world in philosophy has been the subject of research for representatives of various philosophical trends (dialectical materialism, philosophy of life, existentialism, phenomenology, etc.). The development of this philosophical problem has shown 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 in single system descriptions of the surrounding reality.

The problem of the picture of the world has been 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. Wittgenstein, 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. Skurta, V.S. Stepin, M. Heidegger, J. Holton, N.V. Cheremisina, I.V. Chernikova, O. Spengler.

Worldview has always been understood as a set of views and ideas about the world, where the aesthetic relationship of a person to reality is 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. Thus, in the study of the history of aesthetic thought, the most general ideas about the world in one or another 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 were shown in ancient aesthetics 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. world 10, images and models of the world in various national cultures researches G.D. Gachev, paying special meaning works of literary creativity.

The term "aesthetic picture of the world" is used in their works by Yu.A. 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. A significant change in the understanding of the subject of aesthetics is introduced by V.V. Bychkov, who defines it as the science “about the harmony of man with the Universe.” sense one of its most important refractions.

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

represented by a simple enumeration of names. The works of T.V.Adorno, Aristotle, V.F.Asmus, O.Balzac, M.Bakhtin, O.Benesh, G.Bergson, V.V.Bychkov, A.P.Valitskaya, Virgil, Voltaire, G.W.F. Hegel, Horace, A.V. Gulyga, A.Gurevich, M.S. Kagan, V.V. M. Mamardashvili, B. S. Meilakh, M. F. Ovsyannikov, J. Ortega y Gasset, Petrarch, Plato, V. S. Solovyov, V. Tatarkevich, E. Fromm, J. Heizengi, V.P. Shestakov, F. Schlegel, F. Schiller, W. 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. Prigozhin, .Sh.Safarova, V.S.Stepina, L.F.Kuznetsova.

It should be noted that the study undertaken in this work, based on the data obtained by philosophers, culturologists, art historians, synergetics and globalists, substantiates their own vision of the aesthetic picture of the world, which was touched upon in the works of predecessors. A number of works contain a description 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 eras. However, a number of historical and theoretical aspects The problem remains out of research interest.

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

Subject of study: the formation of an aesthetic picture of the world in the 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 that take place in its history.

The purpose of the research: understanding the concept of the aesthetic picture of the world as a universal aesthetic category, as a way to describe 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 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 study sets itself the following tasks: on the basis of the analysis of 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 of the aesthetic picture of the world with the scientific and artistic picture of the world;

to analyze the concept of an aesthetic picture of the world, determine its place in aesthetic knowledge and status within the framework of a philosophical worldview and scientific knowledge;

on the material of Western European aesthetics, consider the process of 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, the Middle Ages, Renaissance, Classicism, Enlightenment, romanticism and symbolism, naturalism and realism);

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

Research Methodology The dissertation uses philosophical-aesthetic, historical-theoretical, synergistic methods of research.13 The work uses elements of comparative historical analysis, the study of historical ideas is combined with the study of their sociocultural context. The sources of the study are the works of philosophers and aestheticians 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 express them most clearly.

Scientific novelty of the research The scientific novelty of the research lies in the analysis of the theoretical content of the new scientific concept- "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 the detection of characteristic features of the formation historical paintings peace and their succession; in determining the specific status of the aesthetic picture of the world as a concept related both to the scientific and to the alternative world outlook.

For the first time, in the light of the ideas of modern aesthetics and synergetics, the originality and ambiguity of the aesthetic picture of the modern world is analyzed, which is due to the special conditions for its formation in the conditions of a systemic crisis of society and culture. At the same time, the results of the study emphasize the great importance of the aesthetic in the formation of a new worldview that can create the foundations for humanity to get out of the impasse.

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 history in the development of problems of historical and theoretical orientation.

Practical significance of the study

The results of the study can be used when reading the relevant sections of courses on philosophy, aesthetics, special courses on the history of pedagogy and the theory of 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 an aesthetic picture of the world performs important scientific and ideological functions.

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

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

4. The main objects in the construction of an aesthetic picture of the world are always nature, society and art; Since the 18th century, science and aesthetics proper, which has taken shape as an independent philosophical discipline, have played an increasing role in the formation of an 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 global studies.

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-western

Academy of Public Administration, Karelian branch, 2005); at the international conference "Reality of the ethnos 2006. The role of education in the formation of ethnic and civic identity" (St. Petersburg, 2006); as well as at the annual research conferences of the Karelian State Pedagogical University. The dissertation was discussed at the meeting of the Department of Philosophy of the KSPU and at the Department of Aesthetics of the RSPU.

The structure of the dissertation: the content of the dissertation research is presented 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, tasks and methods of research are determined, a hypothesis is formulated, and the stages of the dissertation research are revealed.

In the first chapter "Aesthetic picture of the world in the system of philosophical worldview" the diverse aspects of the problem are characterized, the most significant issues for determining the initial theoretical positions are highlighted. In particular, the possibility of defining the concept of an aesthetic picture of the world within the framework of the philosophical and aesthetic worldview is considered. The "prehistory of the emergence this concept on the basis of domestic and foreign sources, and also focuses on the special status of the aesthetic picture of the world.

The theoretical basis of the study was the works that define the concept of a picture of the world (S.S. Averintsev, M.D. Akhundov, L. Weisberger, E.I. Visochina, L. Wittgenstein, 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 related to 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 description of certain important aspects of the concept of an aesthetic picture of the world and the problems of its formation in specific historical eras.

Mankind has developed two ways of cognizing reality - logical-conceptual and emotional-figurative, which interacted in various ways on the historical path of their development and found their full embodiment in science and art, respectively. Considering that the first generalized idea of ​​the world arose in art form, as sensory-practical, and this type of representation is preserved at all stages of the development of human knowledge, it can be assumed that at first there was a syncretic, figurative-sensory form of cognition of reality, which means that the historically artistic picture of the world is older than the scientific one.

The study considers the concept of an artistic picture of the world, which should be understood as an integral system. artistic and figurative ideas about reality, established artistic practice. It is formed “on the basis of a combination of art forms, a 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, as well as under the influence of art studies, critical works, thematic radio and television broadcasts - in a word, from the totality of information, impressions directly or indirectly related to art.

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, on 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 an era. This means that it is not formed by the mechanical summation of all works of all types of art of a given historical era, but a dialectical fusion of the mature works of the most important artists. In the artistic picture of the world itself, two main components can be distinguished: conceptual (conceptual) and sensory-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 the aesthetic perception of all types of human activity.

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

Based on the accumulated knowledge, people create ideas about the world, both at the level of individual consciousness and at the level of the social, and the task of knowing the world is to express in complete purity the language of forms of that picture of the world, which is predestined 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 turned out that the aesthetic picture of the world, combining the logical-conceptual and emotional-figurative beginnings of cognition, in

due to these features 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 clarify the specifics of the status of the aesthetic picture of the world.

In the logical and methodological aspect 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 that represents the subject of research in accordance with a certain historical stage in the development of science, a form through which specific knowledge about the objects of the world is integrated and systematized using scientific tools (in this case- aesthetic categories, concepts, relationships). According to 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 alternative, in which significant indicator is the symmetry of themes and anti-themes (categories of the beautiful and the ugly, the tragic and the comic, the sublime and the base), occupying a similar structural place and performing the same function as the themes of its opponent. In favor of this status are other characteristics of it: the sensually-concrete form of knowledge, the unique and single nature of the results, the significant role of authority. Therefore, it is obvious that the aesthetic picture of the world, which is based on an emotional-figurative way of knowing reality, can be recognized as an alternative picture of the world. Thus, the aesthetic picture of the world has the 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, sometimes one can find in one synonymous series “image of the world”, “ideas about the world”, “model of the world”, “silhouette of the world”, which makes the logic of the presentation of the problem very difficult. The study proves that the concept of "image of the world" is wider than the concept of "representation of the world", and together 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 makes it difficult to use. In this regard, it can be assumed that the picture of the world is a fundamentally comprehensive, non-contradictory construction 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 knowledge gained, based on

at all levels and in all forms of development of the world throughout all stages of human development. As a result of the 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 on the aesthetic development of reality;

Research, reveals the aesthetic significance of certain ideas and ideas of a given era; determines 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 a further bifurcation path to the attractor.

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

In the second chapter of the dissertation "Patterns of the historical formation and development of the aesthetic picture of the world", based on theoretical provisions, the main patterns of the formation of the aesthetic picture of the world on different historical stages development of mankind, as well as in the context of different layers of reality.

The chapter presents the results of changing 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 of the proto-scientific era of the period of antiquity revealed a description of the surrounding reality in terms 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 emotionally figurative description of expressive objects and phenomena, united in a universal system of cognition of the world.

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

The description of the aesthetic picture of the Renaissance world absorbed expressive images, ideas, ideas that were developed over 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 was true to 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 an aesthetically understood being.

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

The next stage of the study was the analysis of the aesthetic picture of the world of the era of classical science, which showed that the 17th century became the phase of the formation of a new spatio-temporal picture of the world, and hence 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 uniqueness of the action is replaced by a multitude of ambiguous reactions to it, a through 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 Enlightenment world can be recognized as quite scientific in terms of the following features: the intellectual and theoretical level of generalization, the abstract nature of the results, and cosmopolitanism. Thus, the aesthetic picture of the Enlightenment world, combining the sensually concrete and theoretical form of knowledge; the singular 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 the features of both scientific and alternative worldviews, the aesthetic worldview of classical science is an integral part of the general scientific (at the level of philosophy) worldview.

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

The expressive images and phenomena of this picture look isomorphic (similar in appearance) photocopies of objects of the world, which are captured in both 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 occupied a dominant position in relation to a single 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 monotonously black and white, devoid of compromise. This, in turn, unified the aesthetic consciousness of people to the “consumption of understandable and simple art” of mascult, which indicates a radical change not only in human consciousness, but also in his picture of the world.

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

In the third chapter of the study "Aesthetics and the picture of the world of the postclassical period" the radical changes in the aesthetic consciousness of man in the 20th century, which are due to the dominance of materialism, scientism, technism, capitalism, nihilism and atheism, are considered. 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 in the study proposed an aesthetic algorithm of the noosphere and ecological aesthetics. The paradigm shift in science determined the transition from objectivist science to epistemic (dialogical) science based on interdisciplinary knowledge. Therefore, more and more often in the works of scientists, aspects of the interaction of different sciences are considered. In science itself, trends have emerged that indicate that there is a need to create a holistic picture of the world. This is evidenced by a systematic 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 synergistic approach, as the same age as 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 necessity, 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 subsequent complication of development cycles. A fundamentally important task of the study was the search for a bifurcation point (branching of the paths of the system) of the modern aesthetic picture of the world.

Fourth, the principle of stable disequilibrium (the so-called attractor) was also important, assuming 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, under changing conditions, 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 and was called fate: “... the idea of ​​fate, which carries a goal and a future, turns into a mechanically extended principle of cause and effect, the center of gravity of which lies in the past. Artistic contemplation, intuition, has the necessity of fate.”15 Spengler noted that in the coherent aesthetic theories of Kant and Hegel there was no place to study the influence of chance and fate on the culture of mankind, although “inwardly 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 I.Prigozhin’s idea of ​​“order through fluctuation”. From the point of view of synergetics, “beauty necessarily carries elements of chaos, beauty and harmony are asymmetrical.”18 Perhaps, numerous fluctuations in the 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 the new function of "Spengler's fate" - to introduce chaos into an object and phenomenon in order to achieve a final relative order. “Dissipation extinguishes, destroys, “burns out” all the “extra” vortex flows and leaves only those that form the structure. Chaos, oddly enough, is constructive in its very destructiveness. He builds a structure by removing everything superfluous.”19 Therefore, contrary to the ordinary intuitive feeling, modern instability in the world is not an unfortunate nuisance, but is a sign of self-development that brings a constructive moment.

And the last principle of sociosynergetics - the principle of "removal from nature", suggests that in the process of sociocultural evolution

naturally increases specific gravity artificial human habitat. 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 “framework” 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 what place occupies this species in the general picture of nature, the value and significance of this species in it, as well as the possibility of bringing it to an 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 base, 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 reasonable person an example of a synergistic self-organizing structure. Nature itself contains contingency and irreversibility as essential moments. This leads to “a new picture of matter: it is no longer regarded 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 reveals that the aesthetic properties of nature have become not only an object of contemplation and enjoyment for a person, but also inspired him to an active, largely imitative path of creativity. It can be stated that since the time of gross and barbaric human intervention in 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 affected 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 harmonizing the aesthetic properties of nature, and ensure a civilized existence, i.e. harmonious state of society.

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

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

socio-political, religious, ethical, ideological crises, which today are outwardly covered with bright prettiness. For this, paracategories (working formulations of postclassical concepts) are used in the description. 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, orientation towards interdisciplinary and problematic research, integrated programming, quantum vacuum technologies, protostructures of reality, the universal cosmological field.

The presence of numerous phenomena and objects of the ugly, terrible and base in society characterizes its state as a civilizational decline, or, as Oswald Spengler predicted, "the decline of Europe." Here is how this state is characterized Russian society L.V. Leskov: “This socio-political system is not able to maintain stability for any long 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, unfortunately, end with the further disintegration of Russia and its departure from the historical stage.”21 The study considers 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. Clash of civilizations, growing waves of terrorism, drug trafficking, "small wars".

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

5. 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 conditions of a qualitatively new scientific and technological breakthrough.

But among them, the last two scenarios are singled out, which have a positive stable direction and the possibility of this synergistic 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, prompt response to

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

This complexity manifested itself in the non-traditional understanding of beautiful art: it does not consist in the perfection of form, not in the depth of content, but in the value of the viewer’s search and unraveling of the hidden aesthetic meaning, in the originality of the author’s artistic concept and in the ability to poeticize the internal inconsistency, the ideological incompleteness of one’s view of being.

External beauty turned out to be more in demand today than internal, as 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 modern man 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 an equal footing with all other aesthetic phenomena of being-consciousness.

As a regulator of the synergistic system of art, the comic was revealed, which has become the most relevant and in demand because it is a constructive and effective element of the dissipative structure of contemporary art.

The dissertation traces an attempt to create a new mythology based on illusory simulacra, which manifest themselves in the Mascult tendencies of art: entertainment, absurdity, cruelty, corporality, plot. In art itself, gesture, characterism, spectacle, alogism, paradox, artistry, visual-verbal drive are at the forefront.

The analysis revealed a significant change in the aesthetic properties of this system and its dissipative (chaotic) state at the bifurcation point. Such a state of art naturally corresponds to the state of nature and society, of the entire surrounding being. In this fact, a certain synergistic fractality (fragmentary self-similarity) is seen, which is similar to the philosophical idea of ​​the monadism 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 the exit of contemporary art from the bifurcation point will be based on a change in the levels of development of nature, society and on the approval of a certain

artistic style, direction, current. After all, the dynamic stability of complex processes of self-organization and self-development is supported by following the laws of rhythm, the cyclic change of states: rise - fall - stagnation - rise. Both living and non-living, 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 you 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 the mental interpretation with a real impact that materially transforms any object. The role of the viewer, who becomes the co-creator of virtual reality, experiencing the feedback effect, which forms new type aesthetic consciousness, involving the modification of aesthetic contemplation, emotions, feelings, perception. At the center of this complex virtual "web" is a human creator, 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 the comic, the form and content of an aesthetic object (computer morphing as a way of transforming one object into another by its gradual deformation deprives the form of classical certainty).

For the aesthetic picture of the virtual world, the characteristic uncertainty of virtual aesthetic objects is 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 populated by virtual characters who live in a fantastic sphere of dematerializing objects. Fantastic 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 intrusion into the artificial worlds of other participants in a virtual game, affect the perception of the real world as an irrational given, amenable to unlimited control. Such an illusion of participation in any events creates an artificial catharsis. On the one hand, by influencing the subconscious, artistic virtual reality provides instant awareness of the integrity of aesthetic influences, which contributes to the expansion of the scope of aesthetic consciousness and vision of the world picture. 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, psychologists note a certain "rejection" of those who have joined the virtual world, a craving to immerse themselves in the artificial world again, a violation of the 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 internetaholics. Thus, the real world is replaced by a virtual simulacrum, which erodes the sense of aesthetic distance and reduces aesthetic criticality. And it is already difficult for a virtual creator to operate with 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 in virtual world reversible.

The study found that virtuality deforms moral and aesthetic values, for example, a tolerant attitude towards violent death, the creation of fake video compromising evidence - falsified printed, 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 thesis points to their interdependence in a holistic structural description of modern reality through the prism of aesthetic categories.

The whole 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 to the perception of the modern world is far from a simplified understanding of the positivity of order and the negativity of chaos. It implies a constant confrontation between the ordering divine principle and the chaos in which the development of the life process takes place.

In the conclusion of the dissertation, general conclusions research, scientific results are analyzed, confirming the validity of the proposed hypothesis, 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 game kaleidoscope of texts, meanings, forms, formulas, symbols and simulacra. 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 to the perception of the modern world is far from a simplified understanding of the positivity of order and the negativity of chaos. It implies a constant confrontation between the ordering divine principle and the 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 the transformation of chaos into ordered beauty, and art, like nature, must transform human relations,

clothe them with beauty and harmony. Following the teachings of Vl. Solovyov, a person in such a situation must act as a co-creator, who can freely and on the basis of his own knowledge, faith, and reason 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, 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 and material factors over material ones, which, according to synergetics, will allow human civilization to get out of the point of bifurcation breakage into 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 integrity in nature and society, therefore such a category of science as an 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: SZAGS Publishing House, 2004. - S. 188-191, (0.2 square).

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 linguistic and aesthetic pictures of the world// Reality of ethnos 2006. The role of education in the formation of ethnic and civic identity. - St. Petersburg, signed for publication on 20.03.2006. -FROM. 616-619, (0.3 p.l.).

4. Suvorova I.M. Educational aspects of the aesthetic picture of the world of the Enlightenment / / Sat. scientific Art. graduate students of KSPU. / Ed. E.A. Sergina. -Petrozavodsk: Publishing House of the State Educational Institution of Higher Professional Education "KSPU", signed for printing on 16.01.2006. - S. 128-133, (0.5 p.l.).

5. Suvorova I.M. Aesthetic consciousness as a regulator of conflict between man and the environment / / Sat. scientific Art. graduate students of KSPU. / Ed. E.A. Sergina. - Petrozavodsk: Publishing House of the State Educational Institution of Higher Professional Education "KSPU", "signed for printing on 16.01.2006. - P.112-115, (0.5 sq.).

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

2NalimovV.V. In search of other meanings. - M., 1993.-S.31.

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

A. Einstein and others.

4 See works by 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.Kuznetsov, L.F.Kuznetsova, M.L.Lezgina, M. V. Mostepanenko, V. S. Stepin, P. N. Fedoseev, S. G. Shlyakhtenko and others. In foreign philosophy and science, this topic was addressed by M. Bunge, L. Weisberger, M. Heidegger, J. Holton

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

6 Ovchinnikov Yu.A. Aesthetic picture of the world and value orientations // Personal value orientations, ways and means of their formation. Abstracts of scientific conference reports. - Petrozavodsk, 1984.- S. 73.

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

8 Valitskaya A.P. New school Russia: culture-creative model. Monograph. Ed. Prof. V.V. Makaev. - St. Petersburg, 2005.

"The 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. S.S. Averintsev, E.I. Visochina, Yu.B. Boreva, R.A. Zobov and A.M. Mostepanenko, B. Migdal, B.S.

II A number of significant issues related to the linguistic, scientific and aesthetic pictures 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. Prigozhin. Nature, science and new rationality // In search of a new worldview: I. Prigozhin, E. and N. Roerichs. - M., 1991; Prigozhin I., Stengars I. Time, chaos, quantum. - M., 1994.

14 Skurtu N.S. Art and 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. - S. 546. "Ibid. - S. 512.

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

19 Knyazeva E.N. Chance that creates the world. // In Search of a New Worldview: I.Prigozhin, 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.Prigozhin, E. and N. Roerichs. Philosophy and life. No. 7. - 1991, - S. 33.

21 Leskov L.V. Synergetics of culture. // Philosophy and cultural studies. Bulletin of Moscow State University. 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 publication 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. Print shop

1.1. Painting M1fa, its features and varieties

1.2. Characteristics, structure and functions of the aesthetic map

1.3. Correlation between the aesthetic map gsmzfas and the scientific map M1fa.26 Conclusions

Chapter 2

2.1. Aesthetic karishashfa of the ancient era

2.2. Aesthetic carttsha MGFA eohi of classical science 60Conclusions

Chapter 3

3.1. Scientific approaches to the problems of modern alpha

3.2. Methodology for the study of the modern picture of M1fa as an ex-surgical system

3.3. Aesthetic in irchfod

3.4. Aesthetic in society

3.5. Aesthetic in art

3.6.Virtuality and aesthetic map 133Conclusions

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

Significant changes have taken place in the social and spiritual spheres of society in recent decades. The rapidly developing information society recognizes as the highest value a person who has a high degree of freedom, independence and responsibility. A change in the geoiolytic situation, a change in the technological structure, the growth of communalism! led to significant changes in the space of modern man, primarily in its cultural part. Relevance of the study Aesthetic studies are increasingly turning to the problem of forcing and collapsing cultural paradigms and the consequences of this change! in the aesthetic composition of society and man. The relevance of the research topic is determined not only by the objective process of the cultural and historical movement of mankind, but also by the dynamics of the personal development of a person in the modern complex and unpredictable world. According to the scientists of neuroscience (Metzger, Hosiers) ^ in the personal development of each person there is a uniqueness 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 recognizing you" in recognizable forms - aesthetic pleasure. Therefore, all objects of the surrounding world are subject to an aesthetic assessment, which strengthens a person's ability to perceive the environment in an orderly manner and fill in what is perceived, i.e. "The whole vision should include an aesthetic beginning." ^ This factor of aesthetic perception leads to an act and a claim 1schformats1P1 and improves the social adaptation of a person in the environment "See. Beauty and the brain. Biological aspects of aesthetics: Translated from English / Ed. I. Renchler. -1L. 1993. - P. 24. ^ Nalimov V. V. In search of other meanings. - M., 1993. - 31.4 Therefore, the formation of a single holistic universal aesthetic picture of the world is a necessary condition for the existence of a person in the world. , in addition to the 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 concepts into the categorical apparatus of aesthetics, uniting the diversity of phenomena and images of modern society, art and information. A big role here is played by ka category of the aesthetic", the development of which led to the appearance in the aesthetics of irc research princes of relativism, polysemy, polymorphism! values, as well as the tendency of the development of aesthetics into pseudoscience, which combines philosophy, philosophy, art science, cultural science, semiotics, synergetics and globalistics. So, at the beginning of the 20th century, in connection with the problems of the philosophical crisis in philosophy and philosophy, a new universal map of the LPFA began to take shape, which later received a south-dimensional development at the philosophical-theoretical level. """ The discussion of the 1960-1970s on the problem of the essence of in the course of which the philosophical and aesthetic concepts that went down in history under the names “pr1fodnicheskaya” (N. A. Dmitrieva, M. F. Ovsyannikov, G. N. Pospelov, P. V. Sobolev, Yu. V. Linniki etc.) and “public”, later developed as an axiological theory of aesthetic values ​​(MS Kagan, LN Stolovich, Yu. This theory was developed in the works of L. F. Losev and was reflected and used in the works of V. V. Bychkov, O. A. Krivtsun, Yu. A. Ovchinnikov and other authors. , V.I. Vernadsky, M.11lank, A. Einstein and others. Alekseeva, R. AVikhalemma, V.G. Izanova, V.N.Mikhailovsky, V.V. Lezpp10y, M.V. Mostepanenko, V.S. Stepina, P.N. Fedoseeva, G. Shlyakhtenko and others. In foreign philosophy and science, M. Bunge, L. Weisberger, M. Heidegger, J. Holton addressed this topic. part and scientific, Shfa paintings. It turned out that scientific and theoretical knowledge is not a simple generalization of the data of experience, but is a synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, grace, tarmogash of theoretical nocTpoeiirii). A scientific theory only then reflects physical reality, Eyishtein believed, when it has internal perfection. Consequently, in the form of your physical, astronomical, and other scientific maps, there is also an emotionally shaped suiform of the cognition of reality. Thus, in the aesthetic assimilation of reality, all the parts and properties of a phenomenon are realized in relation to the whole and comprehended through unity as a whole. Here, all the palpable features of the parts of the manifestation and their coexistence are correlated with each other! whole. To apply its own measure to a phenomenon is to comprehend in it the integrity in the totality of all properties, to comprehend aesthetically. Such comprehension can have both positive and negative results, which correlate with aesthetically positive and negative categories. In practical terms, it can be noted that the aesthetic always stimulates a person to go deep into its essence, search for its deep meanings, and well-known aesthetic categories act as tools! "Theoretical development and scientific aesthetic picture of the world" will contribute to "a methodologically reliable and heuristically rich scientific basis for the formation of stable and pfoxaesthetic goal orientations." V. 4., - M., 1967. - 542. ^ Ovchinnikov Yu.A U Aesthetic picture of the world and value orientations // Value orientations of personality, ways and methods of their formation. Abstracts of scientific conference reports. - Petrozavodsk, 1984. P. 73.6 precisely today, when the human school is rising in the period of a bifurcation break and a change of cultural paradigm.It is noted that the solution of this problem is impossible without an attention to the aesthetic beginning. chosen topic. The relevance of the problem, the insufficiency of its theoretical development, and the need to determine the status of the concept of designation designation of the theme of research: "The aesthetic picture of the shfa and the problems of its forshfovannia." and etc.). The development of this philosophical problematics has shown that the general picture of pfa is not described within the framework of one special science, but each science, often claiming to create its own special picture of pfa, contributes to the form of your and some universal picture of the world, which combines all areas of knowledge into a single system of describing the surrounding reality. .The problem of kartgagy ipfa has been widely developed in the works of S.S. Averintsev, M.D. Akhundov, E. D.Blyakher, Yu.Borev, V.V. Bychkov, L. Weisberger, E.I. Vnsosshoy, L. Vntgenigtein, V.S. Danilova, R.A. Zobov, A.I. Kravchenko, L.F. Kuznetsova, I.Ya. Loifman, B.S. Meilakh, A.B. Migdal, A.M. Mostepaneiko, N.S. Novikova, Yu.A. Ovch1shsh1K0va, G. Reishsha, V.M. Heidegger, J. Holton, N.V. Cheresh1snaya, 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. Under the editorship of Prof. V.V. Makaev. - St. Petersburg, 2005.7 Worldview has always been considered as a set of views and ideas about M1fe, where the aesthetic relations of a person to reality are reflected. Therefore, the concept of a map of the world in connection with art and aesthetic consciousness was a logically regular fact in the development of theoretical thinking. isush; aya soziaiiyukoikretnoy culture. A.F.Losev showed similar representations in antiquity aesthetics, A.Ya.Gurev1 in medieval culture, and A.P. G.D. Gachev studies images and models of M1fa in various national cultures, paying special attention to the works of literary creativity. The term “aesthetic picture of M1fa” is used in their works by Yu.A. (1985), "" where a number of research tasks and problems are left and important aspects of the new concept of aesthetics are formulated. Sui]; a natural change in the HomiMamie and the meta-aesthetics of V.V. Bychkov, defining it as the science of “the harmonica of a person with Ushshersumoyo”). The formulation of the problem of the aesthetic carttish ypfa shows that this ionization is not directly connected with the concept of aesthetic that has developed in the aesthetics of the 19th century and is in In a certain sense, one of its most important insights. The second group of research literature - works, but sacred images of the world in the history of culture of various countries, were also considered by M. Dahundov, L. M. Batkin, O. Benesh, T. P. Grigoryeva, K. G. Myalo, V. N. Toporov and others.^ See the works of S. Averintsev, E. I. Visochina, Yu. , NS Skurta and other authors. Ya. Loifman, N. S. Novikova, Greinin, N. V. Cheremisina, KV Chernikova. The works of T.V. Adorno, Aristotle, V.F. Asmus, O. Balzac, M. Bakhtin, O. Benesh, G. Bergson, V.V. Bychkov, A.P. 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, J. Ortega y Gasset, Petrarch, Plato, V. S. Solovyov, V. Tatarkevich, E. Fromm, J. Heiseig, V.P. Shestakov, F. Schlegel, F. Schiller, W. Eco. Maikovskaya, L.V. Morozova, I. Prigogine, I.Sh. Safarov, V.S. Stenina, L.F. Kuznetsova. art critics, specialists in science and globalization, substantiates his own vision of the problematics of the aesthetic picture of the world, which was touched upon in the works and redshestshkov. A number of works contain a description of certain important aspects of the understanding of the picture M1fa, its features and varieties, as well as the problems of its formation in specific historical eras. However, a number of historical and theoretical aspects of the problem remain outside of research interest. The object of the study is the aesthetic map of M1fa as a form of aesthetic and comprehension of reality. are carried out in its history.9 The purpose of the conducted next step is: to comprehend the aesthetic map of shfa as a universal aesthetic category, as a way of aesthetic expressiveness of the surrounding reality through the npiDMy categories of aesthetics. kartshsh!mpra; to consider the ratio of the aesthetic map of the MGFA with the scientific and artistic picture of the MGFA; to carry out analga nonyatnya aesthetic oh maphshy mgfa, to determine its place in the aesthetic knowledge of the status within the framework of the philosophical mythological outlook and scientific knowledge; on the material of the Western European aesthetic, to consider the process of development of the aesthetic map of shfan and to identify the characteristic features of formation at different stages of the development of culture (Antiquity, the Middle Ages, the Renaissance, the Classroom, the Enlightenment, romanticism, p-symbolism, naturalism and realism); to consider the peculiarity of forging the aesthetic picture of the modern Shfa, its structural and content differences from the previous maps! M1fa; to establish its role in the formation of human ideas about the surrounding reality. Methodology of research In the dissertation, philosophical-aesthetic, HCTopinco-theoretical, and scientific research methods are used / The work uses elements of a right-hand-historical analysis, 1 such non-historical ideas are combined with the study of their social culture. Prigogine I. Nature, science and new rationality / KPrigozhin // Philosophy and life. 1991. No. 7; Prigozhy I., Stengars I. Time, chaos, quantum. - M., 1994.10 context. The sources of research are the works of philosophers and aestheticians of the 18th - 21st centuries, who dealt with the problem of the aesthetic picture of M1fa; 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, visual, musical, and multimedia arts are analyzed; ideas and images related to different enochs and expressing them most vividly. . The second chapter examines the regularities of the historical formation of the aesthetic map of M1fa of the iroto-scientific period, the periods of classical science and post-classical science. In the third chapter, and on the basis of the ideas about prfode, society, and art that have developed in modern aesthetics, the general and problem of the formation of a modern aesthetic picture of Shfa as a model of a synergistic system is considered. theoretical generalization) and in many respects have methodological and educational significance. This is due to the objectives of the development of humanities education and the need to form your holistic mental outlook of modern man. Within the framework of this study, not only theoretical research is carried out, but non-experimental research is carried out. art of another culture and aesthetic thought; in discovering the characteristic features of your historical maps of the world and their implications and connections; in the determination of the specific status of the aesthetic map of the world as a kind of imitation, related to the time of learning and [to the alteration of the world. For the first time, in the light of the ideas of modern aesthetics and schsergetics, the originality and idioosic nature of the aesthetic map of the modern world is being studied, which is due to its special conditional form in the conditions of the systemic crisis of society and culture. At the same time, the results of the study emphasize the great importance of the aesthetic in the foreground! scientific significance of the study The main conclusions of the dissertation research allow us to state that the aesthetic picture of the LPFA is included in aesthetics as one of the most advanced categories of modern science and sets a new perspective on its development as a philosophical and science. The materials and conclusions of the dissertation 1P1 can be used in further research on philosophy, aesthetics, cultural studies, art studies in the development of problems of historical and theoretical orientation. ! upbringing. The author's conceptual approach and especially serve as a basis for further joking of the originality of aesthetic maps and for specific enochs, connections with other paintings of M1fa. The current development in modern science of the concept of the picture of the world of fashion leads to the appearance of such diversity as an aesthetic picture of the world. Reflecting all the aesthetic diversity of reality in its entirety, it performs important scientific and ideological functions more clearly than the aesthetic picture. Being closely connected with the very essence of the category of aesthetic, but not aesthetic, articulation, M1fa reveals its most important role in modern scientific and philosophical search.3. The historical forging of the aesthetic picture of tpf is based on a developing understanding of the rf, while the aesthetic categories exalt a certain stability of the general trend in iic Topini and ideas about the aesthetic expressiveness of the surrounding rf, which consists in the desire to see the rf as harmoniously stable.4. Basic! object! in the construction of an aesthetic map, publicity, society and art constantly appear; ours since the 18th century, vforshfowashp! In the aesthetic arts, an increasing role is played by aesthetics proper, which took shape as an independent philosophical discourse.

5. The special role of science is manifested in the development of your modern aesthetic map of M1fa, in the creation of which a significant place belongs to, in particular, schergetics and global science. Approbation of the ideas underlying the research. Pleasure: history, science, culture” (Petrozavodsk, Northwestern Academy of Public Administration, Karelian Branch, 2004); "Management: history, science, culture" (Petrozavodsk, Northwestern Academy of Public Administration. Karelian branch, 2005); on the international coiferepschp! “The reality of the ethpos 2006. The role of education in the form of your 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 RSPU. The structure of the dissertation: the content of the dissertation research and exposition of 158 scary axis texts. The work consists of an introduction, three chapters, each of which is a section and paragraphs, conclusions about each of the chapters, a conclusion, a search for sources and literature on other topics, and a summary of the results of an excisremeal research.

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

1. In the modern aesthetic consciousness, the tendency to perceive

mnra with Н03НЦШ1 new aesthetic nonyatsh!, Perception of phenomena and

a picture of this picture of mnra nronshodnt with noznschsh nrotshn n gara. All

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

meanings, forms, formulas, symbols of the second dream. 2. In this map, the aesthetic evaluation of objects in the map is in a straight line.

dependence on the subjective attitudes of the artist himself and the viewer. 3. Principally relativistic setting on the perception of the modern MHF

is far from a simplified understanding of the positivity of order and the negativity of chaos. It presupposes a constant struggle against the ordering principle and

chaos in which the development of the life process takes place. “Chaos, i.e. the most ugly, there is the necessary background for any kind of facet, and the aesthetic

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

that "nod raani chaos stirs."

4. In this case, nr1foda looks like a sample in the ypfa card

transforming chaos into ordered beauty, but not art, but

nature, should transform human relations, clothing them

beauty and harmony. So yes, Vl. Solovyov argued that a person in such

situation! must act as a co-Tfighter who freely and on the basis of

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

reality in accordance with the divine plan. “I define this task as the task of art, I find elements of it in the

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

way into the aesthetic sphere.”^ The karttsha that is in front of us

erupts when viewed from the point of view of aesthetic categories!,

demos the state and content that corresponds to

post-classical pernod of art and aesthetic theory. "Soloviev B.S. Collected works. T. 7. - M. - 127. ^Ibid., 352. Conclusion

The research on the topic of the dissertation was carried out within the framework of the Principia

classical aesthetics, taking into account the cardinal transformational

processes in culture and aesthetic sociangag. During the dissertation

The research carried out a number of tasks related to the theoretical and

historical study of the process of forming an aesthetic picture

lpfa. Based on the conclusions made in the ociroBiroM text of the thesis, one can

to make the following generalization of the axis results of the study. Based on the analsh of philosophical and aesthetic literature (Chapter 1)

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

The mental outlook in modern aesthetics is actively shaped by the concept of

aesthetic card M1fa, claiming to be an ultrasharsal category

aesthetic knowledge. Reflecting the LPF in its unity and system

organization through the npiDRiy of the main aesthetic categories,

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

spfoobrazov. Comparison of aesthetic, artistic and scientific paintings

LPFA and shows that the M1fa aesthetic map has a special status - scientific

and alternative paintings of the mhfa at the same time. Therefore she can

interact with both art and science, absorbing artistic

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

character (systematizing, cognitive-anashgpsheskaya, numbing). Historical and aesthetic! (Chapter 2) Analysis of the developmental process of various

aesthetic paintings M1fa (Antiquity, Middle Ages, Renaissance,

Classgschgama, Enlightenment, romanticism and symbolism, naturalism and

realism) made it possible to reveal not only the features of their form on

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

the uniqueness of each of them, their dependence on

M1features of the epoch. The change of cultural epochs means radpsal

1 change and the most aesthetic map of the LPFA. This also reveals

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

EPOCH To the era. It is obsessed with aesthetic categories, first of all

appraisal Based on the use of synergistic approaches and methods for

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

the aesthetic consciousness of the society of the 21st century evokes the entire M1f (prtfodu,

art, society) as a relativistic semantic chaotic

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

iz1schsh[ 1foshp1 and games. The whole map of the modern SF appears as

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

simulacra. And, however, prhfoda gives an example of harmony and beauty, which

art must follow, which must reshape society. aesthetic

the consciousness of the 20th century developed in a crisis, developing diverse

methodological ycTairoBiar, and therefore characterizes the speech of the ycTairoBiar,

struggle of ideas and concepts. This is where the severity of the problem stems from.

associated with the creation of a modern picture of MTFA in aesthetics. The universal concept of "aesthetic map M1fa" as a holistic

system description of expressive images, days and phenomena! society,

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

play a big role in forpfov's mental outlook. This opens up

opportunities in the field of education, in particular - in the education of the course

aesthetics. Přžešš shows the results of an experimental training

assignment completed by students who completed it with interest

requirements associated with the problems of constructing an aesthetic picture

In conclusion of the dissertation research, it should be noted

further philosophical and theoretical ways of research and imitation

second category of the IJIrogo concept in the system of aesthetic categories!

ionclassics. The development of modern M1fa globalists and schsergetics associate with

iocular idea of ​​the formation of the noobiogeosphere, such a state

biosphere, in which the rational activity of man becomes

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

the role of the intellectual principle, the gradual predominance of spiritual and material factors over material ones, which, in the opinion of synergetics,

will allow vp "gg11 human ts1sh11sh1zats1p1 ID POINT of bifurcation break

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

and integral intellect tsivishoatssh!, then the synergistic

the effect of combining human knowledge and technical means. Naukadsh

noospheric class is called a complex of natural, humanitarian sciences

and ethical-relative studies!, in which the formation of

deep structural structure of the processes of living, inanimate and

spiritual nature. Half of this, forlpfowagpge ioobiogeosphere

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

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

aesthetic experience on the way to "ioospheric existence".

List of scientific literature Suvorova, Irina Mikhailovna, dissertation on the topic "Aesthetics"

1. Abdeee R.F. Philosophy of Formation and Development: Dialectics and Irogressive Development as a Humane Philosophy for the 21st Century: Textbook. - M.: VLADOS, 1994. - 335p.

2. Augustine Aurelius. Creations. Isioved of Blessed Augustus. book. VI Ch.17 / A.August. - M. 1991. -488s.

3. Aeriptsee S. Preliminary notes to the study of medieval aesthetics / S. Averiitsev / / Old Russian art. - M. 1970. - 170s.

4. Ldorno G.5. Aesthetic theory./T.V.Adorno. - M., 2001.-343s. 5. y4/71/s/joshgl. Coincidences.: In 4 volumes/Arnstotel. T.4. - M., 1983.-830s.

5. Aristotle. On the art of ioesia. / Aristotle. - M., 1957. - 183s.

6. Asmus V.F. Art and reality in the aesthetics of Aristotle./ VF Asmus. // No. of the history of aesthetic thought in antiquity and the Middle Ages. -M. 1968.-b54s.

7. Afasizhev M.N. Aesthetics of Kant / M.N. Afasnzhev; Acad. sciences of the USSR. - M. : Nauka, 1975. - 136 p.

8. Akhundov M.D. Picture of the world: from myth to science. / M.D. Akhundov // Prnroda.-1987. No. 12.

9. Bakhtin M. Vonros of literature and aesthetics. / M. Bakhtin. // Studies of different years. - M., 1975. - 502s.I.BepegiO. Art of the Northern Renaissance./ O.Beiesh. - M., 1973. - 222p.

10. Bergson G. Laughter in June and on stage. Hep. iodine ed. A.E. Yanovsky. / G. Bergson. - Sib., 1990.144

11. Berdyaev N. Self-knowledge./N. Berdyaev. - M., 1991.-445s.

12. BerdyaeeN. Philosophy of creativity, culture and art: In 2 volumes / Introductory article, comp., note. Galtseva R.A., V.2. - M.: Art, 1994. - 509p.18.^<знда/?ге/О. Дпалоп! о формулах п красоте./Ю.Бондарев. - М., 1990.-222с.

13. Blyakher E.D. Scientific map of the world as a form of world representation: questions of typology. // Scientific map of the world: General cultural and internal scientific functions: Sat. scientific papers - Sverdlovsk: Ural.GU. 1985.

14. Bore.Yu. Esthetgas. Educational aid./Yu Boreev.- M., 2005.-830s.

15. Bychkov V. Art of our century. Nost-adequacy/V.V.Bychkov // Rootstock OB. A book of non-classical aesthetics. - M., 1998. - 230s.

16. Bychkov V.V. Esthetgos. Educational nosobne./ VV Byshsov. - M., 2005. - 55 bs. 23..Bychkov V.V., Msishkovskaya N.B. On the XVI International Congress of Noaesthetics. // Questions f1shosofga1. No. 2. - 2005.

18. Valishchaya A.P. Russian Aesthetics of the 18th Century: A Historical and Problematic Essay on Illumination Thought./A.P. Valitskaya. - M. 1983. - 238s.

19. Vsi1itskaya AL. New school of Russia: culture-creative model. Monograph. Ed. irof. V.V. Makaeva./ A.P. Valitskaya. - Saint-Petersburg, 2005. - 146s.

20. Wittgenstein L. Brown ksh1ga: Lektssh! and talks about aesthetics, PSNKh0L0PP1 n relngsh1./Vntge1pntein L. Kn. 2. - M. 1999. - 158p.145

21. Hegel G.V. F. Op. in 12 volumes / G.W.F. Hegel., T 12. - M., 1967. -472s. Zb.Hegel G.W.F. Aesthetics: In 4 volumes/G.W.F. Hegel. T.2. - M., 1969. - 326s.

22. Herder I.G. Fav. Op./I.G. Herder. - M., 1959. - 392s. ZZ. Gilbert K, Kuhn G. History of aesthetics. / K. Gilbert, G. Kui. - SPb., 2000. -653s.

23. Gorichea T. Orthodoxy and iostmodernism. / T. Goricheva. -L., 1991.-298s.

24. Guryanova N. Aesthetics shshrhsh! in the theory of the early Russian avant-garde // Vonrosynskusstvoznannya.-1996.-M2.-S.390-404

25. DerkachA. L. In the search for the meaning of self-conscious culture, philosophy of culture in the context of national understanding / Derkach A. A., Suslova E. A. // World of Psychology. - 2004. - N 1. - 254-260.

26. Dienenko O.V. Reader but aesthetics. / O.V.Dnvnenko. - M., 1995. - 245s. A^. Danilova B.C. Phosophical substantiation of the concept of the noobnogeosphere. // V.S. Danilova. Vestnik MSU. Series 7, philosophy, - 2004. No. 2.146

27. Egorov V. Philosophy of an open closet / V. Egorov; Ros. acad. educated, Moscow. psychol.-social, in-t. - Moscow: MPSI; Voronezh: MODEK, 2002.-317 p.

28. Liquid V. S., Sokolov K. B. Art and painting М1fa./V.S. Zhidkov, K.B. Sokolov. - St. Petersburg, 2003.-464 p. 5 \. Gilson E. (1884-1978). Philosophy in the Middle Ages: From the origins of natristics to the end of the XIV century / EtSP Zhilsop; per. from fr. A. D. Bagsulova .. - M., 2004. -678 p.

29. Foreign aesthetics and theory of literature of the XIX-XX centuries: Traestats, art., essay / Comp. total ed. G.K. Kosikov; Editorial staff: V.L. Yanin and others - M.:, 1987. -512 p.

30. Ingiakov AS. Philosophy in the world of artistic image: Educational and methodological specialty on philosophy and literature / Mnchurkhsh State Agricultural Academy. - M., 1995. - 77s.

31. Kagan M.S. Aesthetic consciousness as the phenomena of culture / M.S. Kagan // Culture and aesthetic consciousness. - Petrozavodsk., 1989.- 15-22.147

32. Kagan M.S. Morphology of art / M.S. Kagan // - L., 1972. - 440s.

33. Kalinin E.S. Aesthetic development of personality in modern culture // Culture and aesthetic consciousness. - Petrozavodsk, 1989. - 92-102.

34. Camus A. Rebellious Man: Philosophy. Polhgtika. Art: collection of articles. / Albert Camus; total ed., comp. and iredisl. A. M. Rutkevich. - M., 1990.-415 p.b. Kandinsky V.V. About spiritual art./V.V. Kaidiiskgsh. - M., 1992. - 107p.

35. Kant I. Sobr. cit: in 8 volumes / I. Kant / / T. 5 .

36. Knyazeva E.N. Chance that creates the world. / E.N. Knyazeva // Philosophy and life. - No. 7 . 1991.

37. Kovalev A.M. Integrity and diversity of the world: (Philos. reflection), V.1. -M., 1996.-368s.

38. Beauty and the brain. Biological Aspects of Aesthetics / Ed.: I. Reichler, B. Herzberger, D. Enstein. - M.: Mkhf, 1995. - 335 p.

39. Root: Book. of non-classical aesthetics: Sat. / Editorial board: V.V. Bychkov. - M., 1999.-303s.1\. Krivtsun O.A. Aesthetics. Educational book./O.A.Kr1Shtsun// - M., 1998.-430s.

40. Krivtsun, O. A. Rhythms of art and rhythms of culture: forms of historical equipment / O. A. Krnvtsun // Voirosy fnlosofn. - 2005. - N b. - 50-62

41. Culture and cultural studies: Dictionary / iodine ed. Kravchenko A.I. - M., 2003. - 92 bs.

42. Culture, man and picture of the world / Ed. ed. Ph.D. A I. Arnoldov, Ph.D. V. A. Kruglikov. - M., 1987. - 350 p.

43. Langer Philosophy in a new key: A study of the symbolism of the mind, rgaual and art / Syozen Langer; Per. from English. SP. Yevtushenk; General ed. foreign language V.P. Shestakov; Note. R.K. Medvedeva. - M.: Resnublnka, 2000. - 287 p.

44. Lebedev, A. (philosophy; 1940-). Philosophy of Science: A Dictionary of Basic Territories / A. Lebedev. - Moscow: Academic project, 2004. - 316s.

45. Lectures on the history of aesthetics. I Ed. prof. M.S. Kagan - L., 1973-1980.

46. ​​J7^cKoe^".5. С1sergetics of culture. // Bulletin of Moscow State University. Series 7. Philosophy. 2004. - No. 4.

47. Leskoye L.V. Synergetics of culture. // Bulletin of Moscow State University. Series 7. Philosophy. - 2004. No. 5.

48. Loifman I.Ya. Scientific picture of the world as a form of systematization of knowledge./I.Ya. Loifman// Scientific map of the world. Collection of scientific. tr. - Sverdlovsk, 1985. -156s.

49. Lotman Yu.M. About art: The structure of the artistic text./Yu.M. Lotman. - St. Petersburg. 2002. - 621s. Y. Losev L.F. Aesthetics of the Renaissance. / AF. Losev - M., 1998. - 750s.

50. Le) ssikop of non-classics: artistic and aesthetic culture of the XX century. / under the general editorship. V.V. Bychkova. - M. 2003. - 606s.

51. Lshiaee A. Aesthetics of the Other: Aesthetic Race and Activity / Alishaev - Samara, 2003. - 293p.

52. Maidan, A Myth as a source of knowledge / A S. Maidanov // Voirosy of Philosophy. - 2004. - N 9. - 91-105.

53. Mamardasheiili M.K. Conversations about thinking // Shrechennaya thought...: Sat. scientific article. - M., 1991. - 13-50.

54. Mamarda1Sh11pi M.K. Aesthetic research: methods and criteria! / RAP, Institute of Philosophy; Responsible editor K.M. Dolgov. - M.: PFR AN, 1996. - 235p.

55. Mamardashvy, M.K. Symbol and consciousness: Metaphysical reasoning about consciousness, symbolism and language / Ed. ed. Yu.P. Seiokosov. - M.: Languages ​​of Russian culture, 1999. - 216 p.150

56. Mankovskaya N. Aesthetics of Russian postmodernism./N.Mankovskaya // Root 2000: A book of non-classical aesthetics. - Sat., 2000 - 330s.

57. N. Mankoeskaya, V. Mogileesky. Virtual mrf n art. / N. Mankovsky, V. Mogilevsky / / Archetype, 1997, - No. 1.

58. Martynov VF Philosophy of beauty. - Miisk: TetraSystems, 1999. - 333s. - Bibliography: pp. 307-324.-Name index: pp. 325-331

59. Meplach B. “Ftshosophy of art” and “artistic art of art m1fa”. / B.S. Meilakh // Artistic creativity. - L., 1983. 13-25.

60. MeilakhB.S. At the edge of science and art. The dispute about the two spheres of knowledge and creativity, / B.S. Meilakh. - M., 1971. - 151s.

61. Migunoe AA Philosophy and education in Russia of the XVIII century // Bulletin of the Moscow University.

62. Mikhailov M.I. F.M.Dostoevsky’s Esthete: Irebeautiful as the “removal” of the tragic // Russian culture and sh f. - Nizhish! Novgorod, 1993. -S.191-193.

63. Merezhkovsky D.S. Aesthetics and criticism: In 2 volumes / Art. enters, compiled and written by E.A. Artist V.M.Melshgkov, V.1. - M.; Kharkov: Art: Foltyu, 1994. - 670s.

64. Migolatiev A A. Philosophy of civilization // Social and humanitarian sciences. - 2003. - N4. - 64-80.

65. Migolatiev AA. Philosophy of culture // Social and humanitarian sciences. - 2003.

66. Mostepanenko A.M., R. Azoboe. Na ^ shaya and artistic pictures of the world (some parallels) / A. M. Mosteianenko, R. AZobov / / Artistic creativity. - L., 1983. - 5-13.

67. Musical aesthetics of the Western European Middle Ages and the Renaissance. / Comp. V.P. Shestakov - M., 1966. - 574p.

68. Nalimov V.V. In searches for the first meanings. / V.V. Nalimov. - M., 1993. - 123p.

69. Nsh (she F. Works: In 2 vols. / F. Nietzsche. T. L- M., 1990. - 829s.

70. Yaoeolms. Fragments / Novalis / / Foreign literature of the XIX century: Romakt1sm. - M., 1990. - 45-47.

71. Novikova N.S., Cheremisina N.V. Myogoshfie in realsh! and general theory of language maps of the world./N.S.Novikova, N.V.Cheremisina //Philological sciences. - 2000., No. 1.

72. Oesyannikoe M.F. History of aesthetic lies. / M.F. Ovsyagappsov - M. 1985.-463s.

73. Ovchinnikov Yu.A. Aesthetic map of M1fa and value orientations. / Yu.AOvchiiiikov // Value orientations of personality, iuti and sosoby of their formation. Abstracts of the report and scientific conference!. - Petrozavodsk, 1984.- 72-74.

74. Ovchinnikov YL. Tasks of the artistic development of children in elementary school / Yu. A. Ovshppshkov // New non-Dagopshe tekhtgolosh in elementary school: Proceedings of the Scientific and Practical Conference. - Petrozavodsk, 2000. - 73 - 77.

75. Ovchinnikov Yu.L. The main artistic styles in the history of culture 1./Yu. AOvchiiigasov - Petrozavodsk, 2003. - 47 p.

76. Ogorodnikov YL. Phtsosophy: a look at the beginning of the XXI century / Yu.A. Ogorodnikov, G.T. Tavadov // Social and humanitarian knowledge. - 2002. - No. 4.-S. 316-320

77. Ogurtsoe A.P. Philosophy and augsh eohi of the Enlightenment / RAS, II-t f1shosofsh1; Editor-in-chief B.G. Yudin. - M., 1993. - 213s.

78. Ortega y Gasset. Aesthetics. Philosophy of culture./J. Ortega y Gasset. - M., 1991.-586s.

79. Orudokee, 3. M. Culture and civilization / 3. M. Orudzhev, T. V. Kuznetsova // Bulletin of the Moscow University. Ser. 7, Philosophy. - 2005. - N 2. - 82-102.-

80. Pasi I. Ltggeraturio-ftshosofskie etgody./I. Pasi. - M. 1974. - 230s.

81. Pascal B. Thoughts./B. Pascal. - M. 1995. - 480s.

82. Peenitskaya E.L. Aesthetics and thought // Philosophical sciences. - 2003. - N9, - 70-80.

83. Petrov-Stromsky, VF Aesthetics of the norm, aesthetics of ndeal, aesthetics of virtuality / VF Petrov-Stromsky // Voirosy Philosophy. - 2005. - N5.-S. 68-81.

84. Petuikina, L. E. Aesthetist space: Iamyattpgkp of culture as objects of taste formation / Petunkna L. E. //Culture: management, economics, and ravo. - 2004. - N 3. - 39-43.

85. Yalashon. Phaedrus: (Conversations with Socrates)/Payment. - M., 1989.-132p.

86. Pletnikovoe Yu.K. Globalistics as a science. // Bulletin of Moscow State University. Series 7. Philosophy. - 1998. - No. 4.

87. Pospelov GL. Art and aesthetics./ G.N. Posielov. - M., 1984. - 325s.

88. Prigozhin I. Prgfod, the spider and the new rationality. // Philosophy and life. No. 7 . - 1991.153

89. Prigozhin I., Stengars I. Time, chaos, quantum. / I. Prpgozhin I. Stengars. - M., 1994.-431s.

90. Propp V.Ya. Problems of koivma and laughter./V.Ya.Propp. - M., 1976. - 183s.

91. Rabinovich, V. L. Zaum - a kind of mind: futuristic spirit / V. L. Rabinovrgch // Questions of Philosophy. - 2005. - N 3. - 38-57.

92. Rakitoe, A. I. Regulatory M1f: knowledge and society, based on stagnation / A. I. Raktgtov // Questions of philosophers. - 2005. - N 5. - 82-94.

93. Russell B. History of Western Philosophy./ B. Russell. - St. Petersburg. 2001. - 956s.

94. Reinin G. Kartiya M1fa, its description and pathological systems of beliefs. / Psycholopsh reshshyuziostp and mysticism: Reader // Compiled by SelchepokK.V. - Miisk. 2001. - 543s.

95. Russia and the West: Dialogue or Clash of Cultures: Sat. Art. / Ministry of Culture Ros. Federation. Ros. in-t kulturolopsh; Comp. V.P. Shestakov. -M., 2000. - 236 p.

96. Rudnev V. M. And Encyclopedic! Dictionary of culture of the XX century: key concepts and texts. - M. 2003 - 599s.

97. Sarychev VA. Cubofuturism and Cubofuturists: Aesthetics. Creation. Evolution / V. A. Sarychev. - Lipetsk: Lipetsk shdatelstvo, 2000. - 254p.

98. Safaroye I.Sh. Consciousness, aesthetics, siiergettpsa./ I.Sh. Safarov. - M. 1998.-55s.

99. Synergetic paradigm: Nonsense thought in science and art. / Prigozhy P., Aripshov V.I., Kagai M.S. - M. 2002. -495s.

100. C/cv/»wjYa.Ya. Art and Kartshamir./N.P. Skurtu. -Yushishev. 1990.- 84s.

101. SkurtuN.P. The art of cags position. /N.P. Skurtu. - Khshpshev, 1988. - 76s.

102. Modern Western European and American aesthetics: Sat. Lane: (Chrestomathy) / Under the general editorship. E.G. Yakovleva. - M., 2002. - 224p.154

103. Modern Laocoön. Aesthetic problems of synesthesia: Collection of articles based on scientific conference materials. / Moscow State University, Faculty of Philosophy, Kazan Aviation Institute, SKB "Prometheus". - M.: MGU, 1992. - 128s.

104. Sokolinsky, V. M. The phenomenon of globalization: hopes and dreams / V. M. Sokolinsky, D. Yu. Minchev // Fnansovsh! business. - 2004. - N 3. - 52-62.

105. Solovyov B.C. Full collection op. n letters: in 20 volumes / V.S. Soloviev. T. 7. - M. 2001.-546s.

106. Solodovnikov Yu.L. Man in the matt art culture. - M. 2002.- 112p.

107. Solonin Yu.N. Philosophy of Culture: Methodological Assessment of the Crisis of Cultures // Humanitarian Knowledge: Science and Functionality. - St. Petersburg, 1991. -p.128-136.

108. Stepanov G.P. Compositional problems of art synthesis./G. P. Stepanov. - L., 1984. - 319s.

109. Stepin V.S., Kuznetsova L.F. Scientific picture of the world in the culture of technogenic civilization./V.S. Steshsh, L.F. Kuznetsova. - M. 1994. - 274p.

110. Stepin, V. Philosophy as an activity for building models of a possible future / V. Stepin // V1phtualistics: existential and epistemological aspects: a collection of articles .. - Moscow, 2004. - 10-25.

111. Suslova T.N. Tradtschyu! and innovations as one of the problems of modern aesthetic theory / T.I. Suslova // Bulletin of Moscow State University. Philosophy. No. 4.2003.

112. Tatarkevich V. History of philosophers!: Antique and medieval philosophy. / V. Tatarkevich. -Permian. 2002. - 482s.

113. Torshilova E.M. Can I Believe Harmogage Algebra?: Krggpgcheskpy Essay on Experimental Esthetics / E.M. Torshilova. -M. 1989. - 207p.

114. Geng i / .M Philosophy of Art / Prepared by pzd., general ed., comp.pm.decree.,after A.M.Mpshsh1a; - M.: Respublgasa, 1996. - 351s155

115. Ursul, A.D. Formation of noospheric science and its gradual development / Arkadsh! Ursul, Tatyana Ursul // Security of Eurasia, 2004. - N 4. - 329-360.

116. Philosophy does not end ...: nz HCTopini domestic philosophy, XX century, Prince. 2, 1960 - 80s / nod ed. V. A. Lektorsky. - 2nd nzd. - Moscow: ROSSPEN, 1999.-767 p.

117. Philosophy of Russian religious art 16-20ee.: Antolopsh / Compiled by N.K. Gavryush1sha. - M.: Progress: Culture, 1993. -399s.

118. Philosophy of Consciousness in the 20th century: Problems of Iregion: Interuniversity.sb.nauch.tr. / Ivan.state university; Editorial staff: A.N. Portnov (editor-in-chief) and others - Ivanovo: Ivanovo State University, 1994. - 236 p.

119. Philosophy: Modern problems of the world and man: Ucheb.nosobne / Gos.kom.Ros.Federalsh! but higher educated 1Sh), Moscow state n.n. - M., 1995. - 142s.

120. Philosophy for graduate students: Proc. nosobne / V. I. Kokhanovsky, E. V. Zolotukh1sha, T. G. Leshkevich, T. B. Fatkhn. - Rostov n / a: Phoenix, 2002. - 447 p.

121. Philosophy of realism: From the history of Russian thought I Ov.red.n pvt.predgsl. A.F. Zamaleev; Interuniversity scientific program "Russian philosophical thought as the basis for the revival of morality". - St. Petersburg: Publishing House of St. Petersburg, University, 1997. - 147p.

122. Philosophy of nature in antiquity and the Middle Ages, 1st RAS, Institute of Philosophy; Under the editorship of P.P. Gaidenko, V.V. Petrov, 4.1. - M., 1998. - 276s.

123. Philosophy, Science, Civilization I Editor-in-chief VV Kazyutknsky. - M.: Edgtornal URSS, 1999. - 367p.

124. Philosophy, culture and education: (Materials of the "round table") // Vonrosy fnlosofn.-1999.-N3.-C.3-54

125. Fromm E. To have one to be? / E. Fromm. - M. 1990. - 330s.

126. Fromm E. (1900 -1980). Man for himself / Erich Fromm. - Mtshsk: Harvest, 2004. - 350, 1. p.

127. Heidegger M. The Time of Cartridge M1fa / M. Heidegger // New Technocratic Volpa in the West. - M. 1986. - 46-54.

128. Heidegger M. Time and life: Art. n speeches / Martpp Heidegger; Comp., trans., entry. Art., compt. n decree. V.V. Bpbppppa. - M.: Respublika, 1993.-447 p.

129. Heidegger M. Conversation on a country road: Fav. Art. nostril the basis of creativity / Martpn Heidegger; Transl.: T.V. Vasilyeva and others; Ed. A.L. Dobrokhotov. - M.: Higher School, 1991. - 192 p.

130. Hllsen-Leee. Aesthetics of the tpgzhpogo and vulgar in the Moscow koshcheptuashome // New literary o6o3pemie.-1997.-N25.-C.215-245

131. Huizingi I. Osep of the Middle Ages. / I. Huizpgn. - M. 1988. - 450s.

132. Hogarth V. Analysis of beauty./W. Hogarth. - L., 1987. - 345s.

133. HoltonDoy. What is ash science? / J. Holton. // Vonros fnlosofnp. No. 2. 1992. 34-45.

134. Artistic life of modern society: In 4 volumes / Sat. - SPb., 1996. -313s.

135. Tsishron M.T. Aesthetics: Treatises. Comments: N.A. Kulkova, E.P. Orekhanova. - M.: Art, 1994. - 540s.

136. Man - science - nature: Dpalektpko-materpalpstgcheskpe foundations of scientific worldview / Ed. V. G. R1vanova. - L., 1986. - 137 p.

137. X^b. Man. The science. Civilization. (To the age of 70, Academician V. Steshsha). - M., KapopCh-, 2004.-810 p.

138. Chumakov A. N. Globalization. Contours of a holistic alpha: monograph. - M.: TK Velbp, Publishing House Prospekt, 2005.-432 p.157

139. Chernikova I.V. Modern science and scientific knowledge in the mirror of philosophical reflection1./I.V. Chernikova. Bulletin of Moscow State University. Ser.7. Philosophy.2004. No. 6.

140. Chernyshevsky N.G Sob ^. Op. in 5 tons / N.G. Chernipevsky. T. 5. - M. 1974. - 324 p.

141. ChumokoeL. N. Globashpyatsia. Ko1gury holistic ivnrpa: monograph./A.N. Chumakov. - M., 2005. -432 p.

142. Shelabaee, G.K. Aesthetic and artistic as the realities of national self-consciousness: (On the materials of the Kazakh L1geratura) // Bulletin of the Moscow School of Art. Ser. 7. Philosophy.-1996.-K2.-S.72-83

143. Schelling F.V. Philosophy of Art. (Edited by M.F. Ovsyansh1kov)./F.V. Shell1Shg. - M., 1966.-495s.

144. Sixth V.P. Aesthetic categories: the experience of stgstematic and historical research./V.P. Shestakov. - M. 1983.-358s.

145. Shestakoe V.P. Essays on the history of aesthetics: From Socrates to Hegel. / V.P. Shestakov. - M., 1979. - 372s.

146. Shestakoe, V. P. Catharsis: from Aristotle to hard rock / V. P. Shestakov // Questions of Philosophy. - 2005. - N 9. - 95-106.

147. Schlegel F. Aesthetics. Phssophy. Krggtika: In 2 volumes/F. Schlegel. - M., 1983.-T.1.-479s.

148. Spengler O. Decline of Europe./ O. Shiengler. - Novosibgfsk. 1993. - 667p.

149. Schiller F. Letters on aesthetic awakening / F. Schiller // Collected works: In 8 vols. - M. 1957. T. 6.- 785s.

150. Schiller F. Articles on aesthetics./F. Schiller. - M. 1935. - 671s.

151. Shishkov, A. M. Philosophy as a "maid of theology": was the scholastic experiment a success? / AM ShRPKOV // Science - philosophy - religion: in search of a common denominator. - M., 2003. - 135-149

152. Einstein A. Autobiographical notes./A.Ei1Sh1tein. - Collected and studied. tr., T. 4., - M., 1967.-357С.158

153. Yakimoaich, A. K. Art of the New Age: to the omicaHino of a socio-psychological perspective / A. K. Yaknmovich // Questions of Philosophy. -2005.-N3.-S. 71-80.

154. Ekgitut Philosophy of chance: On the life of ideas in the history of culture // Svobodnaya mysl.-1994.-N2/3.-C. 113-121

155. Aesthetics. Dictionary./Under the general editorship. A. A. Belyaeva and others - M., 1989. - 445 p.

156. Aesthetic otpogiepie art to reality: Slov.-prav. / Otv. ed. M.V. Strogapov. - Tver, 1998. - 112p.

157. Aesthetic aspects of unity: Sat.st. / Ministry of Education Ros. Federats1sh, Karel. state. ped. mon-t; Scientific editor Yu.V.Liniik. - Petrozavodsk: Publishing House of the Karelian State Pedagogical Institute, 1995. - 85s.

158. Aesthetics of nature / Dolgov K.M. etc. - M. 1994. - 230s.

159. Eco U. Evolution of the medieval aesthetic / U. Eco - St. Petersburg. 2004. - 28bs.

160. Aesthetics: 1st formational approach / Intern5shar. acad. informatization / Redkol: I.M. Andreeva. - M., 1997. - 138s.

161. Aesthetic patterns and specific features of the historical and artistic process: Sat. scientific work / Tshikesh:. - 1984. - 120s.

162. Aesthetic research: methods and criteria. / M.K. Mamardayshili and others - M. 1996.-235p.

163. Aesthetic relations of art and reality ". Dictionary-reference book / Tver State University; Responsible for rsd. M.V. Stroganov. - Tver, 1998. -112p.

164. Aesthetic self-consciousness of Russian culture: 20s of the XX century: Anthology / Ros. state humanitarian, un-t; comp. G. A. Belaya; ed. intro. Art.: E.159Trubetskovan others; ed. bngr. notes: A. Belyr! and others ... - Moscow: RGGU, 2003. - 718s.

165. Aesthetics of nature, 1st RAS, Institute of Philosophers. - M., 1994. - 230s.

166. Aesthetics: informational nodxojj, I International Acad. Editorial: I.M. Andreeva and others; Scientific editor: 10. S. Zubov, V. M. Petrov. - M: Meaning, 1997. - 138s.

167. Etymological dictionary of the Russian language: in 4 volumes / Fasmer M. T.2. - St. Petersburg. 1996. -671s.

168. I<^ е"/?на:я энциклопедия./Сост. А АЯро1ШП1Ская. - М. 1996. -616с.

169. Yakovlev E.G. Aesthetics. Art history. Religious studies. (Selected works) / E.G. Yakovlev. - M. 2002. - 639s.

170. Yakovlev E.G. Aesthetics of silence, silence and light // Vestn.

171. Yakovyaee E. G. Aesthetics. Art siatpge. Rsligiovedegage: Nzbr. works. / E.G. Yakovlev. - M.: University, 2003. - 639 p.

172. Yatsenko L.V. Painting M1fa as a universal means of regulation/Scientific card M1fa as a component of the modern Sfo outlook. 4.1.M. - Obninsk, 1983.160

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 a natural hierarchy. At the same time, human consciousness, moving in the direction of studying the macro- and microworld, 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 randomly and spontaneously arising whirlwinds of already known and not yet known laws of nature was replaced by the world and the principle of an invariable mathematical law. The world he ruled was no longer just an atomistic world where one arises, lives and dies by the will of an aimless chance. The picture of the metaworld, the megaworld appeared some sort of orderly formation, 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 that separated the sky from the Earth, united and unified the Universe. Accordingly, attempts to understand the complex processes of interfacing with global patterns 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 system 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 changed the classical ideas about the objectivity and proportionality of the Universe. It has become highly probable that we live in an asymmetric universe in which matter predominates over antimatter. The acceleration of ideas that modern classical physics has reached its limits is dictated by the discovery of the limitations of classical physical concepts, from which the possibility of understanding the world as such followed. When randomness, complexity and irreversibility enter physics as a concept of positive knowledge, we inevitably depart from the former 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 universal and exceptional significance of some absolute, primarily physical, constants (the speed of light, Planck's constant, etc.), which limit the possibility of our influence on nature. 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 there is a need 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 new physical constants, inevitably predetermined the increase in the ability of science to search for the One Principle in the diversity 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 constant quantities or the discovery of new elementary particles, but numerical relationships between physical quantities.

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

This kind of invariably repeating mathematical, geometric, physical and other regularities cannot but encourage attempts to establish a certain commonality, a correspondence between the harmonic regularities of material and energy nature and the regularities of phenomena and categories of a harmonious, beautiful, perfect in the artistic manifestations of the human spirit. It is no coincidence, apparently, that one of the outstanding physicists of our time, one of the founders of quantum mechanics, the Nobel Prize winner in physics, W. Heisenberg, was simply forced, in his words, to "renounce" the concept of an elementary particle altogether, as physicists were forced to do in their time " discard" 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 turned from the philosophy of Democritus to the philosophy of Plato; “... if we continue,” he noted, “to divide matter further and further, we will ultimately come not to the smallest particles, but to mathematical objects defined using their symmetry, Platonic solids and underlying them triangles. Particles in modern physics are mathematical abstractions of fundamental symmetries"(emphasis mine. - A. L.).

When stating this amazing by nature conjugation between heterogeneous, it would seem at first glance, phenomena and laws of the material world, natural phenomena, there is enough reason to believe that that both material-physical and aesthetic regularities can be expressed to a sufficient extent by force relations similar to each other, mathematical series and geometric proportions. In the scientific literature, in this regard, attempts have been repeatedly made to find and establish some universal objectively given harmonic ratios found in the proportions of the so-called approximate(complicated) symmetry, similar to the proportions of a number of natural phenomena, or direction, tendencies in this higher and universal harmony. Currently, several basic numerical quantities are distinguished, which 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 significance of this number, including the outstanding 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, from a series of these fundamental constants, one can derive a number, 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 this value, and not some other. Various ideas have been put forward to explain this fact, but no acceptable theory exists to this day.

However, it was found that next to the number 1.37, the main indicators of universal symmetry, which is most closely associated with such a fundamental concept of aesthetics as beauty, are the numbers: = 1.618 and 0.417 - the "golden section", where the relationship between the numbers 1.37, 1.618 and 0.417 is a specific part of the general principle of symmetry. Finally, the numerical principle itself establishes the numerical series and the fact that the universal symmetry is nothing but a complicated approximate symmetry, where the principal numbers are also their reciprocals.

At one time, another Nobel Prize winner, R. Feynman, wrote that “we are always drawn to consider symmetry as a kind of perfection. This is reminiscent of the old idea of ​​the Greeks about the perfection of circles, it was even strange for them to imagine that the planetary orbits are not circles, but only almost circles, but there is a considerable difference between a circle and an almost circle, and if we talk about the way of thinking, then this change is simply huge. A conscious 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 as the basis of the doctrine of shaping. In the period of early antiquity, a thing had a harmonic form only if it had expediency, quality factor, utility. In ancient Greek philosophy, symmetry acted in 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. The beautiful 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. Given the rather debatable fact that the ancient Greeks “did not know” the very mathematical formula for constructing the “golden section” proportion, well known in aesthetics, its simplest geometric construction is already given in Euclid’s “Elements” in Book II. In Books IV and V, it is used in the construction of flat figures - regular pentagons and decagons. Starting from Book XI, in the sections devoted to solid geometry, the "golden section" is used by Euclid in the construction of spatial bodies of regular dodecagons and dodecagons. The essence of this proportion was also considered in detail in the Timaeus by Plato. By themselves, two members, the expert on astronomy Timaeus argued, cannot be well paired without a third, for it is necessary that a certain connection uniting them should be born between one and the other.

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

The identity of relations and the identity of proportions connect forms that are different from each other. At the same time, 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 harmonically uniform structures, was that the quantities united by correspondence would not be either too large or too small in relation to each other. Thus, a way was discovered to create calm, balanced and solemn compositions, or area of ​​average relations. At the same time, the greatest degree of unity can be achieved, Plato argued, if the middles are in the same relation to the extreme values, to what is more and to what is less, and there is a proportional relationship between them.

The Pythagoreans considered 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 symmetrical, reflecting in the connections “numbers” and numerical relations as an invariant manifestation of some “divine mind”. Apparently, it is no coincidence that it was in the school of Pythagoras that not only recurring 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 invertebrate animals.

Numbers and numerical relations were understood as the beginnings of the emergence and formation of everything that has a structure, as the basis of a correlatively connected diversity of the world, subordinate to its unity. The Pythagoreans argued that the manifestation of numbers and numerical relations in the Universe, in man and human relations (art, culture, ethics and aesthetics) contains a certain single invariant - musical and harmonic relations. The Pythagoreans gave both numbers and their relations not only a quantitative, but also a qualitative interpretation, giving them reason to assume existence at the foundation of the world. some faceless life force and the notion of an 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 order, is a fundamental principle by which the entire multiplicity of phenomena can be justified. 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 ratios. This mathematical structure, according to W. Heisenberg, namely: numerical ratios as the root cause of harmony - was one of the most amazing discoveries in the history of mankind.

since the varieties of musical tones are expressible in numbers and all other things seemed to the Pythagoreans to be modeled figures, and the numbers themselves - primary for all nature, the heavens - a set of musical tones, as well as numbers, understanding of the entire richly colored variety of phenomena was achieved in their understanding by realizing the inherent in all phenomena unifying principle of form expressed in the language of mathematics. In this regard, the so-called Pythagorean sign, or pentagram, is of undoubted interest. The Pythagorean sign was a geometric symbol of relations, characterizing these relations not only in mathematical, but also in spatially extended and structural-spatial forms. At the same time, 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 principle of the world and, above all, of 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 an imitation of numbers, and consequently, 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 students. Thus, for the ancient Greeks, the condition for some kind of sustainable perfection and harmony was the need for the obligatory presence of a proportional connection or, in the understanding of Plato, a consonant system.

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. In the same way, the relationship between the diameter of the columns and the height was realized. In this case, the criterion that determines the ratio of the height of the column to the length of the colonnade was the distance between the two columns, which are 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 the planets and for formulating the three physical laws that bear his name. How close Kepler's reasoning was to the argument 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 harmonic coherence of various planetary orbits and the "harmony of the spheres." At the same time, I. Kepler speaks of certain prototypes of harmony, immanently inherent in all living organisms, and of the ability to inherit 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 in the structure of pomegranate fruits and in the movement of the planets. Pomegranate seeds embodied for him important properties of the three-dimensional geometry of densely packed units, because in pomegranate evolution gave place to the most rational way of placing as many grains as possible in a limited space. Almost 400 years ago, when physics as a science was still in its infancy in the works of Galileo, I. Kepler, we recall, referring to himself as a mystic in philosophy, quite elegantly formulated, or, more precisely, discovered, the riddle of building a snowflake: “Since every time, as soon as it starts to snow, the first snowflakes are in the shape of a six-pointed star, then there must be a very definite reason for this, for if this is an accident, then why are there no pentagonal or heptagonal snowflakes?

As a kind of associative digression associated with this regularity, we recall that back in the 1st century. BC e. Marius Terence Varon argued that the honeycomb of bees appeared as the most economical model of wax consumption, and only in 1910 did the mathematician A. Tus offer convincing evidence that there is no better way to implement such a stacking than in the form of a honeycomb hexagon. At the same time, in the spirit of the Pythagorean harmony (music) of the spheres and Platonic ideas, I. Kepler made efforts to build a cosmographic picture of the solar system, trying to connect the number of planets with the sphere and Plato's five polyhedra in such a way that the spheres described near the polyhedra and inscribed in them coincided with planetary orbits. Thus, he obtained the following order of alternation of orbits and polyhedra: Mercury is an octahedron; Venus - icosahedron; Earth - dodecahedron; Mars is a tetrahedron; Jupiter - cube.

At the same time, I. Kepler was extremely dissatisfied with the existence of huge tables of figures calculated in his time in cosmology and was looking for general natural patterns in the circulation of the planets that remained unnoticed. In two of his works - "New Astronomy" (1609) and "Harmony of the World" (circa 1610) - he formulates one of the systemic laws of planetary revolution - the squares of the time of revolution of a planet around the Sun are proportional to the cube of the average distance of the planet from the Sun. As a consequence of this law, it turned out that the wandering of the planets against the background of "fixed", as it was then believed, stars - a feature previously not noticed by astronomers, bizarre and inexplicable, follows hidden rational mathematical patterns.

At the same time, a number of irrational numbers are known in the history of the material and spiritual culture of man, which occupy a very special place in the history of culture, as they express some relations that are of a universal nature and manifest themselves in various phenomena and processes of the physical and biological worlds. Such well-known numerical relations include the number π, or "non-Peer 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 approximation to the "golden ratio", was the mathematician L. Fibonacci, who back in the 13th century. deduced 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 section" began to be called "Fibonacci numbers", and this designation has its own background, repeatedly described in the literature, so we only briefly give it in a note. .

The Fibonacci series has been found both in the distribution of growing sunflower seeds on its disk, and in the distribution of leaves on the trunk and in the arrangement of the stems. Other small leaves framing the disk of the sunflower 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 arranged in a spiral, and there is always a leaf exactly located above the lower one. sheet. In this case, the number of leaves in the coils and the number of coils are also related to each other, as is the adjacent number Ф. This phenomenon in wildlife 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 of this arrangement is the division of the "leaf circle" in relation to the "golden section".

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 evoked the impression of beauty, pleasantness, proportion 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 the well-known work by A. Zeising a thorough attempt to revisit the "golden section" as a structural one, first of all - aesthetic invariant of the measurer of natural harmony, in fact, synonymous with universal beauty, the principle of the “golden section” was proclaimed the “universal proportion”, which manifests itself both in art and in animate and inanimate nature.

Further in the history of science, it was discovered that not only the ratios of Fibonacci numbers and their neighboring ratios lead to the "golden ratio", but also their various modifications, linear transformations and functional dependencies, which made it possible to expand the patterns of this proportion. Moreover, it turned out that the process of arithmetic and geometric "approximation" to the "golden ratio" can be counted. Accordingly, we can talk about the first, second, third, etc. approximations, and all of them turn out to be associated with the 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”, the remarkable properties of which, as proportions of average and extreme ratios, were tried to be theoretically justified by Euclid and Plato, of an older origin, the curtain over nature itself and the phenomenon of this wonderful proportion has not been completely lifted to date. Nevertheless, it became obvious that nature itself, in many of its manifestations, acts according to a clearly defined scheme, implements 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 the 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 proportion", 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 laws of this mathematical relationship. The fate of this remarkable proportion is truly amazing. It not only delighted ancient scientists and ancient thinkers, it was deliberately used by sculptors and architects. The ancient thesis about the existence of single universal mechanisms in man and nature reached its highest general humanitarian and theoretical flowering during the period of Russian cosmism in the works of V. V. Vernadsky, N. F. Fedorov, K. E. Tsiolkovsky, P. A. Florensky, A. L. Chizhevsky, who considered man and the Universe as a single system, evolving in the Cosmos and subject to universal principles, which make it possible to accurately state the identity of both structural principles and metric relations.

In this regard, it is quite significant that for the first time such an attempt to highlight the role of the "golden ratio" as a structural invariant of nature also did the Russian engineer and religious philosopher P. A. Florensky (1882-1943), who in the 20s. 20th century The book “At the Watersheds of Thought” was written, where one of the chapters contains reflections on the “golden section” and its role at the deepest levels of nature, exceptional in its “innovation” and “hypotheticality”. This kind of variety of AP appearances in nature testifies to its complete exclusivity, not only as an irrational mathematical and geometric proportion.

The role played by the "golden section", or, in other words, the division of lengths and spaces in the middle and extreme ratio, in matters of aesthetics of spatial arts (painting, music, architecture) and even in non-aesthetic phenomena - the construction of organisms in nature, has long been is noted, although it cannot be said that it has been revealed and its final mathematical meaning and significance are unconditionally determined. At the same time, most modern researchers believe that the "golden section" reflects the irrationality of the processes and phenomena of nature.

As a consequence of its irrational property, the inequality of the conjugated elements of the whole, connected by the law of similarity, expresses the “golden section” measure of symmetry and asymmetry. Such a completely unusual feature of the "golden section" 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 this proportion is referred to in the creations of man. in completely different civilizations, separated from each other not only geographically, but also temporally - millennia of human history (the Cheops pyramid 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 the numbers 1 and 2 appear at the source of a series of numbers, the Fibonacci series appears; if at the source of a series of numbers the numbers 2 and 1, there is a Lucas series. 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 section" - as you move away from the beginning of the series, this ratio corresponds to the number Ф with increasing accuracy. Moreover, the number Ф is the limit to which the ratios of neighboring numbers of any additive series tend.

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

In the 1850s in England and France there was a crisis of academic painting, the fine arts needed to be updated and found it in the development of new trends, styles and trends. A number of movements emerged in England in the 1860s and 1870s, including aestheticism, or aesthetic movement. Artists - aesthetes considered 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 beyond the boundaries of tradition.

The quintessence of the ideas of aesthetes is that art exists for art's sake 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, Albert Moore, 1882

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", 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's sake. Whistler appended a manifesto of aesthete artists to the statement of claim filed against John Ruskin in 1877.

Whistler did not sign most of his paintings, but drew a butterfly instead of a signature, organically weaving it into the composition - Whistler did this not only during the period of passion for aestheticism, but 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 placed the “signature” butterfly in a pattern on the frame of the picture.

Other artists who adopted and embodied the ideas of aesthetes are John Stanhope, Edward Burne-Jones, some authors also classify Frederick Leighton as aesthetes.

“ Pavonia” , Frederic Leighton, 1859

The difference between aestheticism and impressionism

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