Aesthetic aspects of the physical picture of the world. Modern problems of science and education Express your opinion

movement: 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 aesthetes' ideas is that art exists for art's sake and should not be aimed at moralizing, glorifying 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 lawsuit 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.

Introduction

Chapter 1. Aesthetic picture of the world in the system of philosophical worldview 14

1.1. Picture of the world, its features and varieties 14

1.2. Specificity, structure and functions of the aesthetic picture of the world 21

1.3. Correlation of the aesthetic picture of the world with the scientific picture of the world.. 26

Chapter 2 Patterns of the historical formation and development of the aesthetic picture of the world 37

2.1. Aesthetic picture of the world of the proto-scientific era 35

2.2. Aesthetic picture of the world of the era of classical science 60

Chapter 3 Aesthetics and picture of the world of the postclassical period 85

3.1. Scientific approaches to the problems of the modern world 85

3.2. Methodology for the study of the modern picture of the world as a synergetic system 91

3.3. Aesthetic in nature 101

3.4. Aesthetic in society 115

3.5. Aesthetic in art 120

3.6.Virtuality and aesthetic picture of the world 133

Findings 139

Conclusion 140

Bibliographic list of used literature

Introduction to work

In recent decades, significant changes have taken place in the social and spiritual spheres of society. The dynamically developing information society recognizes as the highest value a person with a high degree of freedom, independence and responsibility. The change in the geopolitical situation, the change in the technological structure, the growth of communications have led to significant changes in the space of life of a modern person, primarily in its cultural part.

Relevance of the study Aesthetic studies are increasingly turning to the problem of the formation and collapse of cultural paradigms and the resulting changes in the aesthetic consciousness 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 individual's development in the modern complex and unpredictable myth. 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 - 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 must include an aesthetic beginning." 2 This factor of aesthetic perception leads to an active search for information and significantly increases the social adaptation of a person in the world around him.

See: Beauty and the brain. Biological aspects of aesthetics: Per. from English / Ed. I. Renchler. -M. 1993. - P.24. Nalimov V.V. In search of other meanings. - M., 1993. - P.31.

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 theoretical terms, one of the modern trends is to put 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 requires the introduction of aesthetics into the categorical apparatus universal philosophical concepts that embrace all the diversity of phenomena and images of modern society, art and nature. An important role here is played by the category of aesthetic 1 , the development of which led to the emergence in aesthetics of the research principles of relativity, polysemy, polymorphic 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, 2 the concept of a universal picture of the world began to take shape, which later received a multifaceted development at the philosophical and theoretical level. 3

The discussion of the 1960-1970s on the problem of the essence of the aesthetic is widely known, during which the philosophical and aesthetic concepts that went down in history under the names “natural” were most fully substantiated (N.A. Dmitrieva, M.F. Ovsyannikov, G.N. Pospelov, P. V. Sobolev, Yu. V. Linnik, etc.) and “public”, later developed as an axiological theory of aesthetic values ​​(M. S. Kagan, DNStolovich, Yu. B. Borev and others). A special place in aesthetics was occupied by the position according to which the aesthetic is interpreted as expressiveness, expressive form. This theory was developed in the works of AF. Losev and was reflected and used in the works of V.V. Bychkov, O. A. Krivtsun, Yu. A. Ovchinnikov and other authors.

2 In the works of O. Spengler, L. Wittgenstein, MWeber, V.I. Vernadsky, M. Planck, A. Einstein and others.

3 See works by P.V. Alekseev, R. AVikhalemma, V. G. Ivanov, V. N. Mikhailovsky, V. V. Kazyutinsky,
R.S. Karpinskaya, A. AKorolkov, A.K.Kravchenko, B.G. Kuznetsova, L. F. Kuznetsova, M. L. Lezgina,
M.V. Mostepanenko, V.S. Stepina, P.N. Fedoseeva, S.G. Shlyakhtenko and others. In foreign philosophy and
M. Bunge, L. Weisberger, M. Heidegger, J. Holton addressed science to this topic

Scientists from various branches of science devoted their research to certain areas of reality, formed a concrete idea of ​​one or another part of the world, and as a result described special, or particular scientific, pictures of the world. It turned out that scientific theoretical knowledge is not a simple generalization of the data of experience, but is a synthesis of disciplinary ideas with aesthetic criteria (perfection, symmetry, elegance, harmony of theoretical constructions). A scientific theory only reflects physical reality, Einstein believed 1 , 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 cognizing 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 correlations 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 a positive and negative result, 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 search for its deep meanings, and well-known aesthetic categories act as tools. "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 causal orientations." 2 Many researchers emphasize that the development of a picture of the world is particularly relevant

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

2 Ovchinnikov Yu.A U Aesthetic picture of the world and value orientations // Value orientations
personalities, ways and means of their formation. Abstracts of scientific conference reports. -Petrozavodsk, 1984.-
P.73.

6 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 principle 1 . This issue is of particular importance in the field of shaping the worldview of future specialists 2 , 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 insufficiency of its theoretical development and the need to determine the status of the concept identified the topic of the study: "The 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 into a single system. descriptions of the surrounding reality.

The problem of the picture of the world in the works of
S.S. Averintseva, M.D. Akhundov, E.D. Blyakher, Yu. Boreva, V.V. Bychkova,
L. Weisberger, E.I. Visochina, L. Wittgenstein, V.S. Danilova,

R.A.Zobov, A.I.Kravchenko, L.F.Kuznetsova, I.Ya.Loifman, B.S.Meilakh, A.B.Migdal, A.M.Mostepanenko, N.S.Novikova, Yu. A. Ovchinnikov, G. Reinin, V. M. Rudnev, N. S. Skurta, V. S. Steshsh, M. Heidegger, J. Holton, N. V. Cheremisina, I. V. Chernshsova, O. Spengler.

Nalimov V.N. In search of other meanings. M., 1993. S. 31. 2 Valitskaya AP. New school of Russia: cultural model. Monograph. Ed. Prof. V.V. Makaev. - St. Petersburg, 2005.

Worldview has always been understood as a set of views and ideas about the myth, which reflects the aesthetic relationship of a person to reality. 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. A.F. Losev showed similar ideas in ancient aesthetics, A.Ya. Gurevich in medieval culture, and A.P. Valishkaya in Russian aesthetics of the second half of the 18th century. 1 At the turn of the 1970s - 80s, the concept of an artistic picture of the world 2 appears and is actively discussed, GD Gachev studies images and models of the world in various national cultures, paying special attention to 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), 3 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 a science “about the harmonica of a person with the Universe”. 1 The formulation of the problem of the aesthetic picture of the world shows that this concept is directly connected with the concept of aesthetic that developed in the aesthetics of the last century and is, in a certain sense, one of its most important refractions.

The second group of research literature - works devoted to

The images of the world in the history of culture of various countries were also considered by M. Dakhundov, L.M. Batkin, O. Benesh, T.P. Grigoryeva, K.G. Myalo, V.N. That porov and others.

2 See works by S. S. Averintsev, E. I. Visochina, Yu.
B.S.Meilakh, N.S. Skurtu and other authors.

3 A number of significant issues related to the linguistic, scientific and aesthetic pictures of the world were considered
I.Ya.Loifman, N.S.Novikova, Greinin, N.V.Cheremisina, I.V.Chernikova.

philosophical and art history analysis of the art of different cultural
eras and works of art - so great that
it is difficult to represent it by a simple enumeration of names. the greatest
the significance for this dissertation research are the works
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, AV Gulygi, A. Gurevich, M. S. Kagap, V. V. Kandinsky, I. Kait,
Yu.M.Lotman, A.F.Losev, M.Mamardashvili, B.S.Meilakh,

M.F.Ovsyannikov, J.Ortega y Gasset, Petrarch, Plato, V.S.Soloviev, V.Tatarkevich, E.Fromm, J.Heizenpg, V.P.Shestakov, F.Schlegel, F.Schiller, W. Eco.

The third group of sources - the latest research in the field
aesthetic innovations and synergetics of culture - works by V.S. Danilova,
E.N. Knyazeva, L.V. Leskova, N.B. Mankovskaya, L.V. Morozova,

I.Prigozhish, I.Sh.Safarov, V.S.Stepina, L.F.Kuznetsova.

It should be noted that the research undertaken in this work, based on 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 their colleagues. 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 of the problem remain out of research interest.

The object of research is the aesthetic picture of the world as a form of universal comprehension of reality.

The subject of the study is 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.

9 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.

The objectives of the study follow from the goal set: on the basis of the analysis of the philosophical, aesthetic and scientific literature on the topic under discussion, 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 scientific and artistic picture of the world;

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

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

consider the specifics of the formation of an aesthetic picture of the 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 and aesthetic, historical and

theoretical, synergetic research methods. 1 In progress

elements of a savgaggslyu-historical analysis are used, the study

historical ideas is combined with the study of their sociocultural

See Prigogine I. Nature, science and new rationality / IPrigozhin // Philosophy and life. 1991. -№7; Prigozhy I., Stengars I. Time, chaos, quantum. - M., 1994.

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 relating to different eras and most clearly expressing them.

The study unfolds in the following directions: the first chapter discusses in detail the interpretation of the picture of the world and the aesthetic picture of the world in Russian and Western European philosophy and aesthetics of the 20th - 21st centuries. Here the ratio of aesthetic and scientific pictures of the world is clarified. The second chapter examines the regularities of the historical formation of the aesthetic picture of the world of the proto-scientific period, the periods of classical science and post-classical science. In the third chapter, on the basis of the ideas about nature, society, and art that have developed in modern aesthetics, the general problem of the formation of a modern aesthetic picture of the world as a model of a synergistic system is considered.

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 theoretical marijuana, but also an experimental study of the issue is carried out.

Scientific novelty of the research

The scientific novelty of the study consists 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 jest of the history of artistic culture and aesthetic thought; in detecting features

And formation of historical pictures of the world and their continuity; 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 forefront of a new world outlook, which can create the basis for the exit of mankind into a dead end situation.

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

The main provisions of the disssrtatsgaї 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 aesthetic diversity

In reality, in its entirety, the concept of a stereotyped picture of the world performs important scientific and ideological functions.

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

The historical formation of the 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 new ideas about the aesthetic expressiveness of the surrounding world, consisting in the desire to see the myth as harmoniously stable.

The main objects in the construction of the aesthetic picture of shfa are always nature, society and art; Since the 18th century, science and aesthetics proper, which have taken shape as an independent

PHILOSOPHICAL DISCHARGES.

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

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

13 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.

Specificity, structure and functions of the aesthetic picture of the world

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 criticism 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 aspects of human activity. “On the objective side, aesthetic development consists in changing the forms of an object “according to the laws of beauty” and incorporating the transformed object, as an aesthetic value, into a historical one! cultural context. On the subjective side, in the formation of an aesthetic sense, taste and other internal qualities of a person’s esthetic evaluative activity.”1 It can also be added that the aesthetic assimilation of reality is an ugly moment of social consciousness, which means that it is able to evaluate real processes in society. And in contrast to the aesthetic, “the artistic development of reality is a kind of spiritual and practical activity for the production of artistic values ​​and the social needs corresponding to them.” , and associated with specific activities. That is, in the first case: the subject is every person, and the object is the whole reality. In the second case: the subject is necessarily an artist, and the object is still the same reality. Therefore, it is logical that all knowledge to the artist is given not only by specific sciences, but also by the everyday aesthetic practice of society.

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 a positive and a negative result, which correlates with aesthetically positive and negative categories.

The introduction of a new concept into the categorical apparatus is justified if it meets the basic requirements for any scientific definition. Loppeska raises the question: is it necessary to include an “aesthetic picture of the world” in the conceptual apparatus of science?

First, the most important requirement of the categorical apparatus of science is the need for the concept itself to define a specific object, a phenomenon of material or spiritual life. In this case, it is necessary to turn to the already known definitions of the aesthetic picture of the world.

Consider the definition proposed in 1984 by Yu.A. . Moreover, the author adds: “The imagery resources that feed the aesthetic perception of the world and make up the associative fund of spiritual culture are formed and reproduced not only in art, in other forms of creativity, but also in journalism, criticism, sciences, and the living spoken word.”2 Therefore, the structure of the aesthetic picture of the world is formed on the basis of many sources both in the public consciousness and in the individual consciousness (depending on the cultural level of the individual, his abilities, the formed worldview), and is also determined by the structure and functions of consciousness.

Correlation of the aesthetic picture of the world with the scientific picture of the world

Low, ugly images and phenomena in romanticism were also aestheticized. Since the main goal of the aspirations of the romantics is freedom, the “aestheticized” heroes of evil (pirates, tyrants, robbers, etc.) were endowed with the greatest opportunities to be free. Each of them played a performance and, pushing the mind and feelings, experienced the tragedy of shattered illusions. On the other hand, the romantic hero still had a glimmer of hope for the final victory of the ideal. Thus was born the main artistic device of romanticism - irony. “Irony emerges from unsatisfied subjectivity, from subjectivity that is always thirsty and never satisfied.”1 Therefore, in a romantic picture, myth and the artist who creates aesthetic images distances himself from his creation, criticizes it, remaining, in his opinion, free and independent.

The aesthetic relationship of man to the world, rising in the romantic card of the myth, is colored by the bitterness of disappointment from the unfulfilled dream of realizing the ideal in real life. In these emotional value relations, the artist still hopes for the final victory of the ideal, but is afraid to discover this hope, which is the basis of theatrical irony. “Only an ironic attitude to everything allows the artist to rise almost to the level of God and freely soar in spaces, fluttering with royal carelessness from form to form, from object to object, striving for some absolute ideal and never reaching it.”2 Thus, aesthetic the picture of the world of romanticism is characterized by significant subjectivism and criticism of artists and their heroes in assessing the surrounding reality. In their opinion, the urban environment was low and suffocating freedom, therefore, as a symbol of the free life of romance, they chose the village, where natural and free self-expression of the human spirit is possible. An example of such an expression of the folk spirit of romance was recognized as oral folk art, which was studied, interpreted and presented to society. It was in folklore that the romantics, carefully embellishing village life, saw sublime images of nature, the spirit of the artist, and sought to capture them in their art. Poetry, painting, music of romantics, as a rule, are directed to the boundless spheres of the sublime. Above all, the romantics recognized the image of the creator-genius himself, possessing a prophetic gift, as sublime. Therefore, in the aesthetic picture of the romantic world, the artist is no longer a servant of the emperor, king, prince, philanthropist, "respectable public", but "ruler of thoughts", discoverer of truths and leader of mankind.

The meaning and value of art in the era of romanticism kardgalygo changes. If in previous pictures of the world art glorified religion, was moral instruction, teaching, entertainment, now it is presented as the most important area of ​​the spiritual life of mankind. Art has become the highest way of knowing the world, which should lift the veil of ideal existence and transform real existence. Within this concept of art, the Romantics tended to integrate various artistic activities. Thinkers thought about the “imperfection” of music and poetry, which were inaccessible to the direct transmission of color and plastic forms, about the impotence of painting and sculpture to reproduce the length of being in time, about the inaccessibility for all fine arts and literature of that powerful emotional impact that music has. Therefore, they saw the synthesis of arts, first of all, in borrowing a special term and using the artistic methods of one type of art in others. Thus, the romantics are mixing genres and aesthetic categories, which complicates and distorts the formed

aesthetic picture of the world to the state of non-classical. This categorical complexity in the picture of the world implies an ambiguous relationship between nature, the ideal and art. In turn, the ambiguity and uncertainty of the attitude to the world prompted many romantics to turn to the aesthetic theory of symbolism. The symbol was considered by them as the highest and only acceptable form of artistic generalization of the personal and social existence of a person.

In the study of various authors (F. Schlegel, J. Goethe, K. Moritz, J. Herder), the symbol is specific and is seen as a “fusion of meaning and being”. F. Schelling points out that a symbol is understood as a sensually contemplated rule for the implementation of ideas. Of interest is his assessment of the symbolism of the arts: music is allegorical, painting is schematic, and plastic is symbolic. In poetry, lyricism tends to be allegory, epic poetry tends to be sketchy, and drama tends to be symbolic. Such judgments look controversial today, but in the era of romanticism, Schelling's ideas were in demand and used in the artistic practice of art synthesis.

In the 20th century, many symbolic ideas of F. Schelling, F. Schlegel, I. Herder were rethought and embodied in expressive images of “correspondences”, “analogies”, “hieroglyphs of nature” by C. Baudelaire, P. Verlaine, A. Rimbaud and others In the symbolic picture of the world, nature, any objects and phenomena of life, human actions are only sensually comprehended symbols expressing ideas. As in the romantic picture of the world among the Symbolists, art is the main way of knowing the world, and the sources are: philosophy, tradition, religion. But in the symbolist picture of the world, art does not directly describe an object or phenomenon, but subtly hints (the so-called suggestion) at it, forcing the reader to complete the image in his imagination. Therefore, the language of the Symbolists is peculiar: unusual word formations, meaningful repetitions, mysterious omissions, reticence. Due to these special linguistic means, symbolist images evoke in the viewer "awe before the bottomlessness of the work." Unlike the romantic one, in the symbolist world map, the artist is not the central figure and the only creator of reality. The symbol itself, endowed with great spiritual energy, creates images of art and the whole universe. These artistic images of the symbolist picture of the world represent the unity of form and content with their full equality, which, of course, eliminates the dependence of these aesthetic concepts.

It is important that the symbolists' aesthetic concept was based on the cult of Beauty and Harmony as the main forms of God's revelation in the world. The most convincing in this sense are the principles of the sophistic principle in Russian art, as well as the conciliar nature of the artistic thinking of A. Bely, Vyach. Ivanov, A. Blok. Interpreting A. Blok, one can imagine the aesthetic picture of the world of symbolism as two “successive levels: 1) the purple-gold level of approaching the Face of the “Radiant Girlfriend” itself and 2) the blue-lilac demonic dusk of masks, puppets, a booth, when art turns into Hell .1 The highest point of these two levels of the picture can be called the idea of ​​theurgy - the creation of a life with the help of the divine energy of the Symbol, its embodiment in real life. But upon reaching this highest point, symbolism had to move away from art into other areas - religion or mysticism, thus destroying the integrity and harmony of creating an aesthetic picture of the world.

Aesthetic picture of the world of the era of classical science

The radical change in the aesthetic consciousness of man in the 20th century is due to the dominance of materialism, scientism, technism, capitalism, nihilism and atheism. It was in this century of scientific and technological progress that a global leap (an active phase of bifurcation) took place from culture to post-culture. Therefore, it is not possible to create a holistic universal description of the characteristic images, phenomena, objects of the era through the prism of aesthetic categories. This is due to several reasons.

Firstly, the epoch itself seems to be a “non-linear environment” of culture, in which there is a countless number of “becoming” structures united by chaos (the culture of avant-garde, modernism, postmodernism, postculture), and, therefore, devoid of integrity. Consequently, the entire 20th century cannot be called a single cultural epoch.

Secondly, in the art of the 20th century, not only the spiritual principle is deliberately eliminated, but also the orientation towards traditional aesthetic categories and concepts: the beautiful, the sublime, artistic symbolism, the mimetic principle, which were replaced by: thing, materialism, body, corporality, experience , practice, design, collage, etc.

Thirdly, both nature and man himself, as the highest value in Christian culture, were reduced to the rank of a “machine for the production of goods” and a “machine of desire and consumption” of these goods. And the philosophical theories of Nietzsche, Freud, existentialists, structuralists, conceptualists, postmodernists recognized the Dionysian principle in man himself, i.e. the priority of life instincts and "mind games". Here is how F. Nietzsche wrote about this: “Man is no longer an artist, he himself has become a work of art; the artistic power of the whole nature is revealed here in the thrill of intoxication, for the supreme blissful self-satisfaction of the First One.

Fourthly, scientific relativism, the assumption of the truth of differing theoretical descriptions of the same reality, does not presuppose the unity of the aesthetic system. That is why the aesthetic ideas and images of Dadaism, Expressionism, Futurism, Surrealism, the Theater of the Absurd and other artistic movements of the 20th century cannot be combined into a single harmonious aesthetic system.

Therefore, it can be assumed that each artistic trend of the 20th century represented its own system of aesthetic values, its own aesthetic attitude towards nature, art, society and man. In this case, in the 20th century, an aesthetic “mosaic” of pictures of the world was formed, in which each bright “smalt” depicted its own vision of the world.

At the turn of the second and third millennium of our era, humanity was on the verge of unprecedented social upheavals. A new paradigm of culture has also arisen: the culture that awakened the creative principle in a person, developed his creative imagination, made him a creator, and contributed to the birth of an artist in him, was replaced by a postculture that kills this quality in him. Thus, it can be argued that by the beginning of the 21st century, the form of higher aesthetic knowledge has also changed significantly, the picture of all nature, all culture, all human existence has changed. Consequently, the aesthetic picture of modernity is significantly different from all previously existing "options" both in its structure, and in its functionality, and in its significance in the spiritual and material life of a person.

Aesthetic consciousness actively participates in the artistic life of society, determines the attitude of people to a work of art. Today, the range of types of art works is much wider: cinematography, television, computer products, Internet technologies, etc. Popularized pop-art works, examples of bodp-art emphasize the importance that culture began to attach to mass production. The products of this production are unfinished and suppress the imagination of a person, and sometimes give rise to insipid emotions, because unfinished experiences have no depth, which means they are not able to make a person empathize and discover the infinite world of perfection in themselves.

The aesthetic is the regulator of the practical creative activity of man. Modern practical human activity is characterized as a spontaneous system with a wasteful way of production and consumption, with uncontrolled growth rates of the economy and population. The new integral sciences - globalistics and synergetics - are urged to formulate a concrete answer to the question of ways to prevent an impending catastrophe. The problem of studying globalistics is the interaction of ecological, economic, social, demographic, climatic and other processes of the Earth's surface shell, the controlled results of which must meet the requirements of sustainable (self-sufficient) development of the world and regional systems of human life.

Methodology for the study of the modern picture of the world as a synergetic system

Aesthetic in nature To achieve objectivity when considering such an element of the modern aesthetic picture of the world as nature, it is necessary to turn to its role in the surrounding reality: “Modern sciences that study the complexity of the world refute determinism: they insist that nature is creative at all levels of its organizations."

A certain creativity of nature is also manifested in the formation of a picture of the world, since: “Nature and history are two extreme, opposite ways to bring reality into the system of a picture of the world. Reality becomes nature if all becoming is considered from the point of view of what has become; it is history if what has become subordinated to becoming.”2 Consequently, Spengler attributed nature to the manifestation of what has become, as opposed to “becoming” history.

In different historical epochs, these conditions could be raised by different authors to varying degrees and in different ways. Basically, researchers of the aesthetic in nature turned their attention to one of two aspects: contemplative and activity. Supporters of the second aspect insist that natural phenomena can become the subject of aesthetic reflection and evaluation when they enter the sphere of social life and people's activities, or become the object of their direct labor impact. Of course, such an idea of ​​the material development of nature by man, which has been widespread since modern times and has triumphed for three centuries, has already been objectively realized. But “nature is such a picture of the world in which memory is subordinated to the totality of the directly sensible”1 and today, more and more often, researchers recall ancient philosophers who also affirmed the contemplation of nature as an active fact.

As for the material impact of people on nature, this process is bilateral. On the one hand, humanity mercilessly destroys natural phenomena: it cuts down forests, kills animals, turns rivers back, clones living organisms, and so on. On the other hand, he takes care of nature: he cleans and plants forests, fertilizes the soil, cultivates plants and animals. But sometimes such cultivation leads to a loss of balance and harmony - hypertrophy of individual organs and functions of a living organism, artificial replacement of it with a snmulacrum (clone). This is how cultivated apple trees look, breaking under the weight of their fruits; draft horses that look like hippopotamuses; cows with swollen udders, dressed in a bandage; recumbent fattened pigs - plants and animals that have lost their natural features, lose their positive aesthetic value, and sometimes become symbols of aesthetic anti-value.

But the most significant change in the aesthetics of nature in the 21st century was the closhfovanis of plants and animals, i.e. bringing into the picture the original art of its samples. Thus, an artificial fluctuation appeared, which led the state of modern nature to a branching (bifurcation) of evolutionary paths. This very fact of intrusion into the myth of nature also changes its aesthetic picture, which must be modeled through the prama of aesthetic categories.

Beauty in nature Beauty in nature not only always evoked a storm of feelings and emotions in the human soul, but also most often became the object of aesthetic research in the history of science: “In any personal picture of the world, in one way or another approaching the ideal picture, there nature without echoes of the living.”2 G. Hegel argued that “everything beautiful is excellent in its own way.”3 And N.G. Chernyshevsky denied the possibility of the existence of beauty in nature: “Not everything kinds of objects are beautiful. Not in all genera by themselves, even their best representatives can achieve beauty. And as examples of such animals, he cited moles, amphibians, fish, and some birds. But in this case, we are talking about the objective features of the physiology of these animals, and not about the aesthetic perception of them by a person. Focusing on the perception of the object of nature, Chernyshevsky argues that “animals seem beautiful to us, which resemble a well-built person, and not a freak. Everything that is clumsy seems ugly; to some extent ugly.”1 Such anthropomorphism, inherent in the science of the 19th century, was overcome by the objective scientists of the 20th century, who studied and understood the uniqueness of the biological organization and way of life of individual species of plants and animals. It was in the 20th century that the concept of the aesthetic dignity of organisms appeared, which is “much broader than the concept of beauty. Since in those "types" and "classes", "kinds" and "species" of plants and animals, which in general cannot "achieve beauty", their best, relatively excellent representatives have aesthetic merit.

G.N. Pospelov proposed to use the following criterion for the aesthetic evaluation of an object of nature: “The aesthetic evaluation of an individual animal of a certain kind should also be based on an understanding of the general level of aesthetic possibilities that this entire genus of animals possesses due to its position on the general ladder of “evolutionary progress” with those or іnіgkh symptoms of "narrow specialization" or their absence. And then this assessment should consist in comprehending the degree of relative excellence with which a given individual animal embodies and develops in itself these common features and capabilities of its kind, to what extent its individuality is distinguished by the corresponding generic characteristic.

1

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

subject-object factor

human life world

sociocultural space

the functioning of the artistic picture of the world

worldview values

spiritual and aesthetic values

aesthetic consciousness

1. Andreev A.L. The place of art in the knowledge of the world. - M.: Politizdat, 1980. - 255 p.

2. Bychkov V.V. Aesthetics: Textbook. – M.: Gardariki, 2004. – 556 p.

3. Vidgof V.M. Integrity of aesthetic consciousness: activity approach (the experience of philosophical analysis) / Pod. ed V.N. Sagatovsky. - Tomsk: Publishing House Vol. state un-ta, 1992. - 153 p.

4. Volkov V.I. The Value Aspect of Art as a Subject of Concrete Sociological Research / Artistic Perception. Collection under. ed. B.S.Meilakh. - L .: Publishing house: Nauka, 1971. - S. 93–98.

5. Derzhavin K.N. Voltaire - M .: Publishing house - in the Academy of Sciences of the USSR, 1946. - 89 p.

6. Kagan M.S. Aesthetics as a philosophical science - St. Petersburg: LLP TK "Petropolis", 1997. - 544 p. URL: https://docviewer.yandex.ru (accessed 03/10/2015).

7. Lenin V.I. What are "friends of the people" and how do they fight against the Social Democrats? Full coll. op. Ed. 3rd. T. 1. 1937.

8. Mineev V.V. Atlas on the history and philosophy of science: Textbook for university students. – Krasnoyarsk: Krasnoyar. state ped. un-t im. V.P. Astafiev. - 2013. - 120 p.

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

10. Musat R.P. Artistic picture of the world as unity in diversity. − Ekaterinburg: OOO Isti: Discussion. - 2014. - No. 4 (45). − P. 17–22.

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

12. Pocheptsov G.G. Theory of communication. −M.: Refl-book, K.: Vakler, 2001. − 656 p.

13. Khrapchenko M.B. Time and life of literary works / M.B. Khrapchenko // Artistic - L .: Nauka, 1971. - S. 29-57.

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

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

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

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

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

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

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

At the level of the general social context, the value attitude is based on a schema-representation of the perfect, ideal, or, on the contrary, not corresponding to these ideals. Thus, works of art in society acquire value for a person as he is included in the process of his social, correlated with his spiritual needs, goals, with the idea of ​​\u200b\u200bthe aesthetic ideal. On this basis, the author's artistic picture of the world will represent a socially determined artistic taste and aesthetic assessment. But one of the topical for researchers today has become the question of the extent to which the social influences the freedom of the author's expression, the extent to which the ideas and taste of the author are consistent with the ideals of society, with those evaluative requirements of society that are established for the artistic and aesthetic reflection of the world. At the same time, the policy that exists in society always seeks to subjugate the artistic sphere as a sphere of powerful influence on a person. But, as a rule, true artists do not want to lose their independence in creativity. A political theme can be related to an artist if he shares its ideology or, on the contrary, seeks to oppose it. In classical works, legal values ​​and relations became the subject of figurative comprehension very often. The artist, in turn, aims to openly interact with society within the framework of his identity. Accumulating the thoughts and attitudes of society from within, it is a kind of harbinger of what is happening. For an artist, it is important to strive to be heard, seen, understood, i.e. sympathized with him. It is addressed to the person-recipient, who is also interested in determining his social position. So back in the early 1970s. art analysts noted that the artist is increasingly becoming a researcher of changing social processes. In turn, sociological studies turn to the specific ideological and artistic content of works of art as a specific material in order to discover trends in the spiritual development of the individual and society.

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

In general, the aesthetic attitude is connected with the problem of artistic perception and communication skills of art and, as a result, with the definition of the social functions of the artistic worldview. Therefore, this category is not only a fixer of artistic processes in society, but also an exponent of its ideology. There is an example when theorists in the 1970s. there was a dual position in relation to the role of art in society. Thus, the supporters of non-realistic movements were of the opinion that art is not communicable or has a small share of sociability, since a small number of people communicate with genuine art and this, as a rule, is the elite of society. At the same time, commercial art is focused on the unpretentiousness of aesthetic tastes, respectively, serves as a means of spiritual devastation. Supporters of realistic tendencies, on the contrary, believe that realistic art is open to the viewer and seeks to convey to him its value attitude to the world, taking into account different tastes and attitudes. In the work "Time and Life of Literary Works" M.B. Khrapchenko reveals an important aspect in the perception and evaluation of works of art. In particular, he speaks of the emergence of a large number of research papers of the so-called petty-historical and empiric-commentary type, which cause "dissatisfaction, so to speak, with a pure socio-genetic study of literature" . At the same time, the author himself raises the problem of the artistic and aesthetic influence on the recipient, on his evaluative attitude and emphasizes the "need for a broad study ... of the living functioning" of works of art in the socio-cultural space.

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

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

Reviewers:

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

Mineev V.V., Doctor of Philological Sciences, Professor, Professor of the KSPI. V.P. Astafieva, Krasnoyarsk.

Bibliographic link

Musat R.P., Musat R.P. ARTISTIC PICTURE OF THE WORLD: AESTHETIC ASPECTS // Modern problems of science and education. - 2015. - No. 2-1 .;
URL: http://science-education.ru/ru/article/view?id=21325 (date of access: 07/09/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"

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 towards the study of 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 yet unknown laws of nature was replaced by the world and the principle of an unchanging 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 be presented 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, 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, V. Heisenberg, was simply forced, in his words, to “renounce” the concept of an elementary particle altogether, as physicists were forced 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, mathematical series and geometric proportions similar to each other. 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, the two terms, argued the expert on astronomy Timaeus, cannot be well paired without a third, because it is necessary that between one and the other a certain connection uniting them should be born.

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 the 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 a certain “divine mind”. Apparently, it is no coincidence that it was in the school of Pythagoras that not only repeated symmetry was discovered in numerical and geometric ratios and expressions of numerical series, but also biological symmetry in the morphology and arrangement of leaves and branches of plants, in a single morphological structure of many fruits, as well as 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 through awareness of 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 represented 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 just emerging 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 Terentius Varon argued that honeycombs 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 a planet's revolution around the Sun are proportional to the cube of the planet's average distance from the Sun. As a consequence of this law, it turned out that the wandering of 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 certain 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 cyclic process obtained in the development of the theory of biological populations (for example, the reproduction of rabbits), 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 substantiated 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.

I recently received a message from a person who said that he liked my photos, but, unfortunately, he does not have a “photographic eye”. This prompted me to write the following article on the basics of aesthetics in photography.

Express your opinion

When we talk about aesthetics, we mean that some images are more attractive to our eyes, whether they are photographs, paintings or sculptures.

The difference between a photographer and any other person is not the ability to notice beauty, but that the photographer must be able to explain why certain elements are pleasing and others are not. Everyone has an understanding of aesthetics. Anyone can see it, but only a few can analyze the picture and explain the compositional techniques that create a beautiful image.

These techniques were not "invented" by expert artists. They have been found in a wide variety of disciplines. For example, the golden ratio has meaning not only in photography or painting, but also in architecture, mathematics, and even flower arranging. This means that we can apply some of these universal rules to create images that most people perceive as visually harmonious.

Composite elements

Leading lines

The viewer's eye is automatically guided by leading lines and other geometric shapes. Leading lines help put emphasis on the object that becomes the center of attention. If the eyes naturally follow the lines and finally stop at the object, a very harmonious impression is created.

Rule of thirds

The rule of thirds is based on a simplified principle of the golden ratio and divides the image into three equal areas. It helps to place the subject off-center and create a nice effect.

The ideal areas for placing objects are four points formed as a result of the intersection of lines parallel to the sides of the frame. In street photography, it is desirable to use high points. They will allow us to show more of the subject on which we want to focus.

triangles

Geometric shapes help create dynamic movement in a shot. They form an auxiliary basis that enhances the perception and unites the individual elements of the frame into a single whole. For example, geometric objects such as triangles and circles are popular.

odd rule

The previous photo already shows an example where three objects form a triangle. But the viewer is pleased to perceive not only three objects. 5 or even 7 points of interest can greatly increase the aesthetic value of an image.

This strange rule is explained by the fact that if objects are easy to arrange, put in pairs (2, 4, 6, etc.), then our brain becomes uninteresting.

break the symmetry

A symmetrical picture is a great achievement, but a 100% symmetrical frame is too clear. To make it more interesting, you can just place the object to the left or right of the section axis.

Summing up

These compositional techniques will help you create aesthetically pleasing photographs. You don't have to be born with some "exceptional" eyes to see interesting images. Every person has an aesthetic sense. The difference lies in being able to explain and recreate eye pleasing photographs or paintings.

The ground rules are a simple way to create a certain glow in the image, avoiding total chaos. In other words: an aesthetically successful image does not automatically become great. It's just a great base to lay out the plot.