Aesthetic Grounds Research Articles

ДЕКОРАТИВНЕ МИСТЕЦТВО І ЕКО-ДИЗАЙН: ФІЛОСОФСЬКО-ОСВІТНІ ОСНОВИ РОЗВИТКУ І СУЧАСНІ ВИКЛИКИ

Purpose. Identification and analysis of philosophical, educational and aesthetic foundations of the development of decorative and applied arts and design in the context of new socio-cultural challenges. Methodology. It is based on a systematic approach that synthesizes the methodological principles of related sciences: art history, philosophy, aesthetics, pedagogy with universal for these sciences methods of historical, typological and comparative analysis. Results. Basic philosophical and aesthetic origins of the phenomenon of decorative and applied art in the context of art and related design education, as well as the bank of basic ideas and principles of its progress in the time continuum are determined. There also have been traces social and cultural values acquired over the centuries, relevant for different historical periods and modern challenges, facing the art and education sphere. Scientific novelty. Determining of the philosophical and aesthetic principles of the functioning of decorative and applied arts in line with art and design education, its timeless universal social and cultural values. Practical significance. The research will contribute to the formation of a deep, philosophical and aesthetic level of worldview perception of the phenomenon of decorative and applied arts, art and design education, the development of guidelines for the implementation and design of new creative ideas in art, education and eco design

A. M. REMIZOV’S “THEORY OF RUSSIAN LITERARY STYLE” (1930S‒1950S)

The article analyzes the stages of development of A. M. Remizov’s “theory of Russian literary style” (“teoriya russkogo lada”) in the 1930s–1950s. In the 1930s, the opportunities for the writer to present his aesthetic views in an open journalistic form narrowed down significantly. Remizov was forced to popularize his theory and the name of its “founder” — protopope Avvakum in works devoted to other topics (Knigopisets i shtanba, Po sledam protopopa Avvakuma v SSSR, etc.). In these years, the conceptual apparatus of the theory has taken shape, the semantics of the term “theory of Russian literary style” was detailed. In 1946, Remizov made the last, unsuccessful attempt to publish an introduction to his theory in the form of a manifesto (Na russkiy lad, 1946). The exposition of this theory’s postulates was an indispensable part of most of Remizov’s works of the late 1940s-1950s. Plyashuschiy Demon (The Dancing Demon), an avant-garde book, reveals the ongoing confrontation between the supporters and opponents of the “theory of Russian literary style” up to the 20th century through a historical kaleidoscope of characters from different periods of Russian history. Related novels. i. e. Uchitel muzyki (The Music Teacher) and Podstrizhennymi glazami (By Cropped Eyes) are devoted to examining the mystery of the formation of a writer's personality, and reflect the Russian art life in the 19th-20th centuries and in the first wave of Russian emigration. The writer's emerging personality, the formation of its aesthetic foundation is historically and culturally justified in both books. The writer in question is a follower of “theory of Russian literary style.” This very theme is one of the central topics in Remizov's latest work — his book about himself Litso pisatelya (The Face of a Writer).

Peirce, Dewey, and the Aesthetics of Semioethics

This essay interrogates the aesthetic ground of Ponzio and Petrilli’s 2003 concept “semioethics” as activated by what they call a “logic of otherness”. I take my lead from Charles S. Peirce’s assertion that “Ethics, or the science of right and wrong, must appeal to Esthetics for aid in determining the summum bonum" (1903: CP 1.191). Given that Peirce’s esthetics, depicted as the first of his normative sciences, “ought to repose on phenomenology” (ibid.: CP 1.191), I offer a communicological analysis (i.e., a phenomenological interpretation of the operative aesthetic sign actions of a semioethic). To accomplish this, I turn to fellow American philosopher and pragmatist John Dewey, whose experiential aesthetics offers insights into Peirce’s claims. Dewey’s understanding of the importance of semiotic “form” and existential or embodied “rhythm”, when applied to dialogic relations, reveals phenomenological “felt qualities” and their reflexive semiotic relation to what I call “embodied intensities”. We discover that, when mediated by emotional or energetic interpretants, felt qualities and embodied intensities provide both the necessary and sufficient conditions for a logic of otherness that makes an ethical stance even possible. I contend that our human relationality remains precarious in our global, digitalized environment as long as we disregard or fail to perceive, appreciate, and cultivate this aesthetic phenomenological ground of otherness.

Шеллинг как предтеча эстетики символизма

The aesthetics of early Schelling constitutes the philosophical foundation of the po­etic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythol­ogy and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.

Iдэйна-мастацкiя пошукi паэтаў беларуска-польскага памежжа: творчасць Адама Плуга

This article is devoted to the study of the ideological and aesthetic foundations of Adam Ploug’s poetry in organic correlation with the artistic experience of other representatives of the Belarusian-Polish literary borderland (A. Mitskevich, J.I. Krashevsky, etc.). It is worth noting that the formation of A. Ploug’s creative consciousness took place under the direct influence of a number of ideas of Western European Romanticism, including the sacralization of the homeland and its past (historical memory), the idealization of freedom, Christian humanism and non-conformism, the idea of the timelessness of art. At the same time, both the concept of the lyrical hero and the artistic space in A. Ploug’s works are all built on the basis of the traditions of the Belarusian folk culture, which makes it possible to assert that the poet belongs primarily to Belarusian Romanticism.

Philosophy of architecture as an ethical and aesthetic foundation of architectural practice

Philosophy of architecture as an ethical and aesthetic foundation of architectural practice

I will not find this image beautiful I will not find this image beautiful I will not find this image beautiful (An unfinished monument)

Abstract During the summer of 2014, I scrolled through the images of the Israeli bombings of Gaza, mesmerized behind the computer screen by their beauty. They were stunning and my engagement with them, so far away from the event, was based on purely flat aesthetic grounds– which is uncannily perverse. Attempting to deface the image, I insert the names of the victims of the attack into its script code. Each name typed into the script alters the photograph and leaves its mark. While trying to defile the visual, to escape from the beauty of this violence, a different aesthetic transpires, that of the glitch. With naming the dead, the notion of a monument emerges, reinforced by the sculptural quality of the smoke cloud. The resulting video is entitled I will not find this image beautiful, I will not find this image beautiful, I will not find this image beautiful (An unfinished monument) (11h 43min). Keywords Aesthetics, conflict, Palestine, glitch, monument

HISTORICAL MEASURES AND PHILOSOPHICAL FEATURES OF BRITISH POST-POSTOMODERNISM: OUTLINING THE CONCEPT OF «CONNECTEDNESS»

In the paper, the author states that in the UK the emergence of theoretical compendia that represent and simultaneously revise the literary landscape of this country (as well as the United States), determines the necessity to outline the boundaries of the period, which in these works is defined as post-postmodernism. The latter concept has no clear theoretical explication and is discussed in the form of literary directions (altermodernism, digimodernism, metamodernism) that define new aesthetic and philosophical grounds that differ from postmodernism. In the paper, the author substantiates the historical boundaries of post-postmodernism, in particular emphasizing the factors that led to the formation of a new literary paradigm after 2000s. The ideas of British theorists on «realisms» in contemporary British literature have been developed with the emphasis on the presentation of new worldview models and identities in the contemporary British novels. A review of «The Routledge Companion to Twenty-First Century Literary Fiction» (edited by D. O’Gorman and R. Eaglestone) is represented, which gives a condensed view of the aesthetic and philosophical pursuits of the contemporary British novel. The transformation of the archetype of Home in the paradigm of the contemporary (postpostmodern) novel has been spotlighted. Attention is drawn to explaining the representation of «one’s own» and «another’s» («alien») concepts, which reconstructs the traditional idea of Home as a space of protection and security. The transcultural processes inherent in the British novel have been discussed. The new character of the worldview (based on the materials of the novels by D. Mitchell and M. Haddon) has been outlined, which gives reason to speak abouta special postpostmodern way of observing the reality and provide its interpretations. The outline of the corpus of epistemological problems in the contemporary British novel actualizes the experience of philosophy of I. Kant, which is emphasized primarily by British theorists, referring in their own interpretative models to this tradition of German classical philosophy, which becomes important for the post-postmodern novels since 2000s.

Мифологические модели и ритуальные формы в современном музыкально-театральном перформансе

Performativity as one of the essential qualities of the present-day art of music has created an important role in the process of renewal of its leading genres. Drawing its sources in the theatrical experiments in the mid-20th century, toward the end of the century musical performance has imbedded itself not only into the sphere of art practice, but also created an impact on such a conservative sphere of academic music as musical theater, and in particular, on the genre of opera. The article sets the issue of manifestations of mythological models and elements of ritual characteristic of theatrical performance in operas by contemporary music. Basing themselves on the theory of performativity, the authors explain the innovations in the production from the point of view of the presence of liminality in them. At the center of attention are compositions insufficiently studied in Russian musicology the analysis of which makes it possible to indicate the direction of development of the opera genre: its revival from within by means of a search of a new form of synthesis by introducing new dramaturgical regularities and also as a result of connection of art with elements of real actuality. From the perspective of the authors of the article, performance becomes one of the forms of theatrical presentation, replacing the traditional theatric demonstration built according to the laws of drama. This position is actively developed in the sphere of contemporary theater studies in Europe in the works of Hans-Thies Lehmann, Erika Fischer-Lichte and Richard Schechner. Such formulation of the question explains the aesthetic foundations of the innovative aspirations of opera composers. Keywords: performance, ritual, contemporary musical theater.

Pedagogical discourse in the system of color perception of art by future designers in the process of training

The priorities of modern education are addressed to the spiritual, moral, aesthetic and artistic foundations in the development of artistic culture and art of the young creative generation. The paradigm shift in the color perception of the art of modernism and postmodernism is acquiring a tendency to dominate quasi-cultural values. The creativity of the young generation is based on the traditions of the imagery of Russian realistic art. The artistic image in art always carries with it a certain social significance. This affiliation of art is characteristic of the entire development of the traditions of the spirituality of Russian education. The modern universe of art education has enormous spiritual heuristic potential. Russian thinkers, scientists and teachers A.F. Losev, Yu.M. Lotman, V.A. Sukhomlinsky, K.D. Ushinsky and P.A. Florensky pointed out that without traditions in art it is impossible to navigate in the present and build harmonious foundations of the future. The fast flow of information processes of young creative generation is not able at times to understand the higher spiritual and moral values of color art.

Physiological and psychological foundations of aesthetics

Together with the consideration of the laws of symmetry and proportion, we finished the department of aesthetics on the sensory elements of visual beauty. An object recognized as beautiful, we examined how it opens up to the sense of sight and tried to determine under what conditions, by virtue of what circumstances, its optical and geometric properties, its color and form become beautiful and evoke an aesthetic feeling in us. But our task is far from over.

Artistic system of the children’s poetic folklore of Dagestan

The subject of this research is the artistic system of children's folklore of Dagestan. Based on the analysis the example of cradlesongs, play poetry, and calendar songs, the author determines their thoughtful humanistic and democratic motif, high ideological focus, and aesthetic perfection. The article covers the ideological, thematic and artistic content, and highlights the archaic elements of cradlesong poetry, which enjoys most popularity among other genres of the poetic folklore. The author’s special contribution consists in explication of specificity of artistic means and aesthetic foundations of the folk worldview and culture reflected in folk poetry; as well as in analysis of compositions of various folklore genres as the elements of single literary system, which indicates their focus on labor, strong ideals of patriotism, kindness and continuity throughout the entire social practice of the people. The oriented towards a young developing individual, children's poetic folklore reconstructs the work and life experience in a form comprehensible to a child. This is why were created the cradlesongs, nursery rhymes, games that involved poetry, and all these word-creating activities, which in their centuries-long evolution led to higher imagery, infused and gifted each upcoming generation truly humanistic values. Children's poetic folklore that reflects the questions of folk pedagogy based on life experience of the mountaineers, had a major impact upon the development Dagestan children's literature.

«New simplicity» as a phenomenon of modern musicin the conceptual context of novelty

The relevance of research. The music of leading contemporary composers, representing the style of «new simplicity», becomes a manifestation of a certain attitude associated with a «new» approach to the technique of musical composition, in a wide sense – to the ontological foundations of music as a specific form of art and culture. Accordingly, the concept of «new» acquires special significance, which contains the essence of the novelty of the composer's understanding of music as an object of its creative realization and a way of communication with the listener. This issue is not often discussed in native researches of contemporary music (as well as the «new simplicity» in general), it is not presented as a special subject of musicological studies. The purpose of the research is to determine the conceptual foundations of the «new simplicity» as a phenomenon of contemporary musical art in the context of the semantic content of the concept of «new music». The methodological basis of the research is the systemic method, the method of comparative studies, as well as the methods of historical musicology and genre-style analysis. The scientific novelty of the article is determined by the theoretical development of the «new simplicity» as a genre and stylistic phenomenon of musical art in the context of the artistic and aesthetic foundations of contemporary composer's creativity. Main results. The conceptual meaning of «new music» as a phenomenon of professional musical art of the 20th century had a straight influence on the development of the aesthetic idea of the «new simplicity» and its creative implementation in individual composer’s styles at the turn of the 20th and 21st centuries. The essence of the «new» in the «new simplicity» consists of the fundamental rejection of the need to constantly changing the norms of the musical language and its total individualization, as well as in the return to a more accessible («simple») musical style. The return of the «new simplicity» to triad and consonance as the main constructive elements of the musical language represents a fundamentally different approach of modern composers to the technique of musical composition in the context of the «ban on consonance» proclaimed by the Western European musical avant-garde. «New» in this case is the understanding of the basic function of triad and consonance: it is associated not with the functional side of tonality, but with the phonic image of music – the factor that ensures its harmony in terms of auditory perception and the possibility of an emotional response. Conclusion. Musicological development of the conceptual aspect of the «new simplicity» opens up opportunities for studying this phenomenon of contemporary musical art in a wide historical perspective and understanding it as a natural link in the evolution of European academic music.

Freedom Made Manifest: Rahner's Fundamental Option and Theological Aesthetics, Peter JosephFritz, The Catholic University of America Press, 2019 (ISBN 978‐0‐8132‐3119‐8), xx + 278 pp., hb $65

Freedom Made Manifest: Rahner's Fundamental Option and Theological Aesthetics, Peter JosephFritz, The Catholic University of America Press, 2019 (ISBN 978‐0‐8132‐3119‐8), xx + 278 pp., hb $65

Агендерная эстетика: тело не образ, а поток

Статья посвящена анализу агендерной эстетики как постмодернистского проекта по отказу от гендерной идентичности. В статье рассмотрены идейные предпосылки развернувшегося проекта денатурализации человеческого тела, гендера и пола в рамках постструктуралистких исследований. Выявлены аксиологические основания критики традиционного понимания идентичности. Лакан, Кристева, Бодрийяр раскрыли механизм формирования идентичности как искусственной конструкции, закрепленной за телесность. Батлер предложила стратегию ускользания от идентификации, сформулированную в концепции перформативности. Эти идеи нашли свое отражение в институте моды в творчестве дизайнеров, разделяющих постмодернистские ценности. В статье раскрыты механизмы конструирования агендерной телесности модным домом Gucci. В фундаменте агендерной эстетики лежит идея отказа от идентификации и провозглашение тела как уникального единичного бытия, проявляющего себя перформативно. Было выявлено, что художественной задачей агендерной эстетика является развитие визуальной пластичности человеческой телесности. Эксплицированы основные приемы для решения этой задачи: сочетание вещей с идейно противоположными вестиментарными кодами, изъятие элементов одежды с жесткими гендерными коннотациями из привычного контекста и вписывание их в новый визуальный ряд для придания им гендерной нейтральности. Осуществлена проблематизация эстетических оснований агендерного стиля. Исследование позволяет сделать вывод, что постмодернистское переосмысление человеческой телесности не как образа, а как потока, выходят за пределы элитарных практик искусства и становятся актуальными для массового сознания западного человека.

Story Circles: A conversation on Black Feminist theatre practices drawn from creating the play ‘Postcards: Bodily preserves’

abstract The world is characterised by polarisation and distrust; there is a need for research that humanises others through narrative, everyday performances and empathy. This article, framed as a conversation aims to look at the creation and performance of the play, ‘Postcards: Bodily preserves’, as a Black Feminist theatre aesthetic. We depart from the question: What does a Black Feminist theatre aesthetic look like? Through the exchange, we examine the process of directing using Black Feminist theatre tools. We collectively look at the choices we make when we intentionally embody Black Feminist theory in the rehearsal room. More importantly, we examine how the work we do, de-centres the power of the director in the room. We use Story Circles, a performative story-making model, to guide the reflection. In addition to our recollections, we argue that Story Circles is a form of Black Feminist theatre aesthetic that captures our dynamic, multilingual ways of creating. It is an aesthetic grounded in the fundamental belief that artistic practice and critical reflection can spark lasting political change.

Models and Reality: How Did Models Divorced from Reality Become Epistemologically Acceptable?

Economic models translate real problems to an artificial world, and calculate outcomes. The match between artificial worlds populated by rational robots, and the real world, is never assessed. Instead, models are judged on aesthetic grounds, involving conformity to preconceived principles of optimization and equilibrium. Despite methodological proclamations to the contrary, models are not judged by predictive performance. Economics models are formulated axiomatically, and never cross-checked against reality. Taking this (controversial) characterization of economic methodology for granted, this paper sketches trends in philosophy of science which led to a methodology which permits creation of mental models disconnected from reality. A key development was the separation of the observable phenomena from the underlying reality (noumena) which eventually allowed empiricist philosophers to jettison the underlying reality as part of what good models attempt to describe. The paper discusses contemporary methodologies for assessing models in economics and econometrics, and explains why these lead to models disconnected from reality.

Impact of Qur’ān upon Aesthetics and its Evolution: A Religio-Cultural Discourse

This paper intends to know how Qur’ānic Scripture influenced prevailing values of art and aesthetics with an exclusive Islamic worldview and contribution. It is an important aspect of Islamic civilization which may be studied from the very beginning of Islamic history along with later developments examining critically various characteristics of Islamic aesthetics. Employing analytical method, we came to know Qur’ānic Scripture as a precursor of Islamic aesthetics and raison d'être for Islamic culture and civilization. It functions as super hand in the Islamic cultural ingredient changing ideas and thought totally or partially ameliorating prevailing social standards. This discourse makes it clear that the Islamic foundation of aesthetics is one of the contemporary matter of the Prophetic era. By dint of this study, one may become familiar with the concept that how art and aesthetics were welcomed, customized, innovated and transferred after their infiltration as per Islamic norms inculcating values. Islamic civilization warmly welcomed to any alien sorts of aesthetic reflection trimming its irrelevancy off in the light of Tawḥīd showing harmony exercising within its own domain, identity and unique weltanschauung. Hence, Qur’ānic Scripture vis-à-vis Islamic aesthetics has self-explanatory evidences of its origin, distinctive historical promotion and its identity in different cultural diversity.

Goethe e a descoberta da natureza

Este artigo tem por objetivo expor alguns parâmetros da “ciência da natureza”, de Goethe, sobretudo a partir das descobertas que fez em sua viagem à Itália. Tendo como foco a apreciação das paisagens natural e artística, o poeta irá intuir um fenômeno primordial (Urphänomen) que será base de sua morfologia e de sua estética. Ênfase também é dada às aproximações com o jovem naturalista alemão Alexander Von Humboldt. Ambos compartilham a ideia de um todo orgânico captado pela intuição e apreciado pelo olhar do cientista e do artista.

Media aesthetic component of communication and its manifestation in infographic content

The goal of the present study is to demonstrate the media-aesthetic potential of infographic messages on particular cases. This can be done due to an integrated approach to the analysis of the visual content of media content. That indicates the case study method implementation as well as description and generalization. The theoretical basis of the research is represented by scientific studies of various directions. That includes the history of media and visual media culture; features of the concepts of media culture and media language, media aesthetics; infographics as a tool of media language. The empirical basis of the study is journalistic materials containing infographic content of such publications as by RIA Novosti (ria.ru), TASS (tass.ru). The examples of visual image implementation in the transmission of information — media content containing infographics — are given and analyzed. Considering media aesthetics as the formation of a sensory perception of the proposed media content, the author turns to the philosophical and aesthetic foundations of visual practices in the media and post-humanistic trends in journalism. As a result of the analysis of the theoretical and practical basis of the research, the author comes to the conclusion that today the role of the media aesthetic component of messages is most relevant. And infographics, as the connecting link of language and consciousness, is its most striking tool.