The methodological amorphousness of post-culturology and antinomy of creative culture

Abstract

The paper considers the principles of the methodological amorphousness of contemporary cultural studies and its influence on the "inconsistency with one's own concept" (Hegel) of creative culture and art criticism. It is argued that the decay of categories in postmodern semantics, which is immanent to the denialof classical formation and objective foundations of historical development, and the essence of man is theprecondition for alienation of modern artistic representation. The grounds for dissonance of the fundamental logic of social practice, the distorted modes of its postclassical dimensions and the categorical decay of subjectivity are established. In which case the artistic culture loses its attribute in the pre-emptiverepresentation of reality and moves along its inversely destructive logic, and the art criticism subordinates itself to such destruction. Thus art criticism does not juxtaposes artistic de-construction with theartistic re-construction of the proper integrity of the art object as an image of a healthy society and theartistic add-construction of proper human integrity. The differences of the categorical system of cognition and reflection of of classical, non-classical and post-classical times-spaces are determined. The coreproblem of the "invalidity of culture" (K. Noyka) is the failure of the dialectical imperatives of classicalformation in social movement practises after the classical period. Classical formation completed the duality of human essence with the idealistic constitution of universal laws of development and categories,presenting the latter in the so-called "paired" form. Non-classical time is characterized by the break ofthese pairs while neglecting the fundamentality and giving primacy to the derived categories — thusmultiple manifestations of reality (phenomenon, form, being, reality, freedom, etc.) are brought to thefore beyond their apprehension through categories of essence, content, essential existence, reality, necessity. As a consequence, the theoretical reflection in general and the artistic reflection in particular created the gaps of the arbitrariness of subjectivity, which caused the syndrome of formal knowledge andformal art. Postclassic time is a regression in regression: in it these derivative categories are already collapsing, serving as a means for linguistic, figurative, semantic, moral deconstruction of the historical reality and of subjectivity itself. Artistic culture becomes a reproduction of fragments of the "liberated"from the essence of "realities", and amorphous methodology of postcultural science acts as both a factorand a consequence of the categorical disintegration of knowledge.