Aesthetic grounds for the interaction of different types of art. Interaction of the Arts

Art around us

Imagine your ordinary, weekday day. We open our eyes, look away and see a watercolor or a picture on the wall. Maybe you are used to looking at it, finding new details. After a while, everything that is on the other side of the canvas will become familiar to the smallest detail and begin to live its own life.

My eyes are fascinated by this picture.

I look at the shabby easel -

Here it is - the work of an immortal example.

And I want to strengthen my enthusiasm with a word.

And will appear from the chaos of smears,

Obscure at once, confused, careless,

The only gift of tenderness

Sung with an enthusiastic verse.

P. Brueghel the Elder "Hunters in the Snow"

When you leave the house, you may turn on the player or your parents will find their favorite disc in the car. Your favorite music will come to you. It doesn't matter what it will be - after all, "there is no arguing about tastes." This is your world. your universe. If the music sounds positive, that will be the day ahead. But sometimes you want to mourn ...

This is the element of poetry, melody and fire,

Do you know what music means to me?

This is the dawn, this is the birth of a new day!

Teenager with pler

On the streets of any city, town, village, it is interesting to take a closer look at the surrounding buildings. The sight, first of all, is attracted by the temple buildings. All over the world they are very different - Orthodox, Catholic, Muslim, Judaic, Buddhist. All of them have their own symbolism, traditions, decor features. In order to understand all this, you need to know - read, search, ask.

Temple buildings - Orthodox, Catholic, Muslim, Judaic, Buddhist.

Residential, public buildings in any settlement tell about their creators, the features of local life. It is surprising that even a primitive hut with a hole inside for smoke to escape not only saved a person from rain and bad weather. By observing the starry sky overhead, ancient man could relate himself to space and time.

Chum nomad

A peasant hut with a rooster on the roof and lace trim is an amazing work of Russian architecture. It is not only a place to live, but a story about the structure of the universe. At the same time, the art of building soundly has developed among the people for centuries. Comfortable and beautiful, so that the floorboards do not creak and the wind does not fly into the cracks.

Peasant hut

The old noble house keeps its romantic stories and secrets; columns, ancient windows, lanterns can be preserved in it. Near it, I want to read poetry, listen to classical music.

Old noble house

Modern buildings of stations, airports, stadiums are an echo of our dynamic time, its speed. New materials: glass, concrete, metal give these structures an unforgettable look.

Fisht Stadium

Hanging, floating, underground houses were designed in antiquity. But only the modern development of technology, materials, computer technology in design can help in the implementation of these ideas.

modern building

The school opens the world of art to us, although we often do not notice it. The works of the classics of world literature and music, the basics of fine art occur precisely in school lessons. The change of historical eras and styles is revealed in the lessons of history and the MHC. Some schools have their own exhibition halls, circles, poetry evenings and concerts are held.

Art lesson at school

At school, we do computer presentations, projects, research papers on art, and our knowledge becomes deeper. Computer design, screen works have entered the life of a modern student.

Computer class at school

We turn on the TV after school. It can be a movie, music videos, educational programs. There are most of them on the channel "Culture", but if you wish, you can find "Traveling with Dmitry Kiselev",

"Their manners", in which you can see architectural monuments, sculptures, learn a lot of interesting things.

Travels with Dmitry Kiselev

On TV, you can also watch programs about the rules, design, style, and fashion history. Who doesn't want to look trendy, look modern? The female part of the audience cannot watch high fashion shows with indifference. This clothing itself has become a work of art, while the works of the couturier also convey the main ideas of their time.

High fashion show.

Making a project for the repair and decoration of your room is the first step for a novice designer. And to make your front garden or lawn beautiful in the country is already landscape design. Creative ideas can, of course, be peeped on the Internet.

Landscaping.

The camera is now not a luxury, but a feature of most gadgets. But artistic photography is a creative and delicate matter. Observation, patience in the search for a frame will come in handy here. The sense of color, the ability to build a composition bring the creators of photography closer to artistic creativity. But the heart and soul of the viewer are touched only by those pictures in which the thoughts, feelings, attitude of the author are invested.

Very artistic photo

I immediately smeared the map of everyday life,

splashing paint from a glass;

i showed on a platter of jelly

oblique cheekbones of the ocean.

On the scales of a tin fish

I read the calls of new lips.

nocturne play

we could

on the drainpipe flute?

Asked by Vladimir Mayakovsky

Monument to Mayakovsky in Moscow

Your day from everyday life will become a holiday if something special happens besides school, road and computer. Unforgettable. For example, going to an exhibition, a concert, an excursion. Usually, meetings with the theatre, philharmonic, library are remembered for a long time.

Teenagers in the theater

By the way, about books. Now they are arguing which is more necessary - paper or electronic. This is not so important. The main thing is that they continue to read. In the wonderful novel by the American science fiction writer Ray Bradbury "Fahrenheit 451", people got to the point that reading books became a dangerous occupation, and only desperate fans and daredevils met secretly at forest fires to read Shakespeare and Dostoevsky by heart.

"451 degrees Fahrenheit" - illustration

This writer has another little story called "Smile". A crowd was driven to the city square, which should destroy the last painting on Earth. Only one boy, Tom, asks: "Why, she's beautiful." At home, he carefully unclenches a piece of canvas clutched in his hand and sees ... the smile of Mona Lisa.

So they smile - they have comprehended the price -

by inner strength - so cheered up!

So smile - loving and in love ...

Time has unraveled all the secrets!

I really don't want Bradbury's story to become a prophecy...

Basic concepts:

integration, synthesis of arts, synopsia, synesthesia,

interaction, entropy, syncretism

Interaction of different arts and synthetic arts

Interaction- the process of contact mutual influence of structural elements of one system or structural elements of various systems, as a result of which qualitative and quantitative changes occur in these elements, and sometimes in the systems themselves, in some cases leading not only to their destruction, but also to the formation of new elements or systems.

The processes of integration in art between its various types are built mainly on the basis of two types of contact:

influence of one species on another the result of which are qualitative and quantitative changes in each element participating in the interaction;

association of arts as a result of which a new type of art is formed, carrying both some features of the species that form it, as well as new features that are absent in the original types.

The processes of interaction (rapprochement and establishing contacts) are the result of the discovery and manifestation of similarity, similarity and commonality. Interaction occurs, as a rule, when the mutual interest of one to the other is present and clearly visible. The artist-author resorts to the possibilities of interaction when the available means of expression do not fully satisfy him, and the attraction of the possibilities of another art solves this problem.

The interaction consists in the manifestation of some signs of one type of art in another (for example, the use of the principles of transferring space from fine art: "far - blurry and unclear, small; close - bright, much and clear", in music - "far - quiet, close - loudly"). The interaction of different types of art is, as it were, the second side of the same phenomenon, which consists in the historical differentiation of individual types in the system of integral art.

I The process of attraction to the decomposition of complex systems into the simplest elements is associated with the natural processes of attraction of all things to a state of rest and balance and is called entropy.

Types and forms

integration processes

in artistic activity

In the field of artistic activity, integration processes can be considered in the following areas:

Integration of techniques, means of expression, styles, genres within one type of art;

Synthesis of various types of art (color music, variety art, bard song, circus, cinema, video clip, etc.);

Integration of art with other cultural phenomena (firour skating, synchronized swimming, ski figure dancing, breakdance, art therapy, etc.).

The application of the synthesis of various types of art is based on the fact that any work of art is system of a special kind of stimuli, consciously and subconsciously organized in such a way as to cause aesthetic response. Influencing the senses of people with a complex of colors, sounds, verbal intonations, art causes a variety of sensations that are analyzed, compared, compared with existing ideas and concepts. With the simultaneous action of several stimuli, a temporary connection is formed between the analyzers themselves, association of sensations.

association of sensations- a successively more complex series of conditioned reflexes, thanks to which a person’s connection with the world is established, reflection in the brain of reality in its diversity and completeness.

The problem of interaction between different types of art was dealt with

B. Kandinsky. He owns the idea monumental art, incorporating all possible means of expression, genres and styles, based on the universal synthesis of the arts as the pinnacle of the development of human ability for artistic creativity.

In parallel, the ideas of applying the integration of various types of art in musical pedagogy were developed by E. Jacques-Dalcroze, who organized a school of music and rhythm in Hellerau (Switzerland), the teaching methodology of which was based on the synthesis of music and choreography, which was continued at the beginning of the 20th century in the developments of Delsarte, J. D. Udin, and in Moscow and St. Petersburg - with S. Volkonsky. Ideas

S. Volkonsky formed the basis of the school of K. Stanislavsky, which determined the development of musical theater.

Continuing and developing these ideas, K. Orff founded in Munich, together with D. Günther, the school of gymnastics, dance and music (“Günterschule”), and also created a new type of musical performance, which was characterized by a close connection between music, text and stage movement, organization of musical dramaturgy through long rhythmic ostinatos. All these ideas are reflected in the five-volume collection "Music for Children" (Shulweik).

The problem of the interaction of various types of art was characteristic of Russian philosophical thought at the beginning of the 20th century. The ideas of synthesis of arts occupy a significant place in the works of P. Florensky. In the works “Temple Action as a Synthesis of Arts”, “Iconostasis” and “Reverse Perspective”, Florensky writes about the problem of the significance of the context for the Russian icon, which is the temple itself. The icon, torn from the unity of the temple, loses its power. The temple is what is the unifying principle in the interaction of plasticity and rhythm, play and incense.

niya, words and sounds, ensuring the involvement of all human senses.

The basis of the synthesis of arts Florensky puts the fact unity of techniques for organizing space, which is determined by the fact that the artist's path is always the same and represents a movement from random to stable and unchanging. Therefore, rhythm introduces the spatiality of a musical character, symmetry - of an architectural character, convexity of volumes - of a sculptural one.

E. Trubetskoy also considers the synthesis of arts on the example of Orthodox icon painting. He writes that in icons, when depicting the evangelists, there is a change from one semiotic channel to another or a transition from sight to hearing. The type of human posture demonstrates the appeal to sound. This is a position of in-depth listening to the voice, which has no localization in space, comes as if from inside the world. The visible becomes invisible.

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Problems of art synthesis

Many Russian art historians, including Murina, Vanslov and Stepanov, addressed the problems of art synthesis.

The problem of interaction between the arts - their relationship, interconnection, mutual influence - is one of the most important problems of aesthetics, which has also been repeatedly developed in art history. It crosses purely theoretical questions related to the interpretation of the system of arts and their specifics, with real creative issues of artistic practice. The nature of the interaction between the arts in a number of cases significantly affects the artistic usefulness of certain specific results of creativity. Each of the arts is connected by thousands of threads not only with many phenomena of social life and with other forms of social consciousness, but also, in principle, with all other types of artistic creativity. These connections may be more or less direct or indirect, they may be more or less important, but they always exist and largely determine the nature and state of any art in a particular era.

Each of the arts, although it is directly, directly connected only with certain aspects of life and has limited specific expressive properties, is nevertheless able to artistically cognize the essence of life, human relations, social development and, in this sense, reflect the world as a whole. Therefore, each art is in principle independent and does not need to perform its functions in some crutches or props borrowed from other arts. At the same time, each art at the same time also needs the help of other arts, because its possibilities for directly reflecting reality are limited, and its special advantages over other arts are bought at the price of a certain incompleteness in the direct depiction of life.

The theory of the synthesis of arts evolved around the search for criteria and patterns that determine the interaction of architecture, sculpture and painting. It is characteristic that arts that are synthetic in nature, for example, drama and opera theatre, ballet, cinema, circus, variety art, which, unlike painting or sculpture, are unable to exist outside the fusion of various artistic means and languages ​​that form them, do not need theory. The theory of synthesis of fine arts and architecture is built as a substantiation of the principles of connections between different types of arts, allowing to achieve a holistic unification of heterogeneous spatial-figurative systems.

Monumental creations of various classical eras are put forward as a model of synthesis. In recent years, starting from the end of the 60s, as painting and sculpture were introduced into modern construction, interest in the problems of synthesis not only increased, but also took a slightly different direction due to the need to take into account various factors put forward by the era of scientific and technological revolution.

According to Hegel's theory, the subject of various arts is the same and at the same time not the same: the unity of the general and the individual, the universal and the specific lies in this subject itself.

The dialectic of the general and the specific in the artistic sphere, most fully disclosed by Hegel, is essential for understanding the interaction between the arts.

On the one hand, each art strives to reveal, strengthen and develop to the maximum what constitutes its unique feature, distinguishes it from all others and is its advantage over them. But, on the other hand, each art also strives to take into account and use the experience of others, to exchange achievements with them, to expand its capabilities and boundaries, having learned the peculiarities of the behavior of its fellows. The tendency towards individualization is complemented by a tendency towards mutual influence and synthesis. Always distinguished by "faces with a non-common expression", they at the same time jointly solve the same tasks. Repelling each other, they strive at the same time to intermarry with each other.

Truly artistic achievements are usually associated with balance and harmony in the interaction of opposing tendencies (Fig. 1). Emphasis can be placed in one direction or another, but it is worth the relative predominance of any tendency to turn into an absolute one, and art is in crisis, and, ultimately, is destroyed. Absolute differentiation and specification, leading to the separation of one art from all the others, is just as detrimental to him as absolute integration, which in fact means absorption, substitution of this art by others.

The deepest internal basis for the synthesis of arts is human action, which allows completely dissimilar types of creativity to unite into an organic artistic unity and makes this association truthful and convincing. This is most obvious in the performing arts, where it is the action, realized primarily in the actor's performance, in his stage behavior, that forms the basis and essence of the artistic image. All the other arts unite and serve him around the actor's action: image, music, etc. (a stage spectacle can include all existing arts).

But all other kinds of synthesis also have an effective basis, more or less directly expressed. In the plastic arts, this basis is those real processes of human life, for the flow and spatial design of which architecture is created. It includes painting, sculpture, decorative and applied works, taking into account the nature and deployment of the life processes taking place in it. A more indirect character has a connection with the action in book illustration and in vocal music, but here it is also present in the subtext. Different sides, facets and hypostases of integral human action give rise to all diverse types of creativity, and the synthesis of arts is aimed at a more complete, complex, artistic expression of the nature and essence of people's life.

In the artistic unification of the arts, each of them contributes to the synthetic whole, enriches this whole with the specific possibilities and features inherent in this art (Fig. 2).

From all of the above, V.V. Vanslov gives the following definition of the synthesis of arts - it is an organic artistic whole that has a new quality in relation to each art included in it.

The synthesis of the plastic arts also includes the art of decorative and applied arts (folk art and design). Functionally significant utilitarian things, as well as purely decorative items, form a single ensemble with architecture and the fine arts included in it. Through this unity of all components, the way of life and the aesthetic ideal of society are revealed.

It is difficult to achieve and is a real creative as well as theoretical problem. This problem is most often solved in relation to the integral living environment.

The synthesis of the plastic arts was characteristic of all the great epochs in the development of the artistic culture of man. The synthesis of arts in the Russian artistic culture of the second half of the 13th - early 19th centuries reached a high development.

The arts included in the synthesis are united on the basis of common life, ideological and artistic content. At the same time, they do not repeat, but complement each other, they sound not only in unison, but also form a kind of counterpoint, converge in unity, but retain their differences. Only a joint solution of common meaningful tasks by specific means of all the arts leads to synthesis, that is, such an architectural and visual complex in which each of the arts, while retaining its specificity, complements the whole with special capabilities and unique artistic colors.

Sometimes an accidental adaptation to architecture of decorations and images that do not follow from its essence is passed off as synthesis. Sometimes synthesis is understood as an attempt to revive soulless architecture with the help of fine art. Monumentality is often replaced by external design, reminiscent of advertising posters, puzzles, or pure abstractions. Schematism, far-fetchedness, bad taste penetrate into the images.

Sometimes, on the ends of standard, inexpressive houses, artists mechanically transfer ornaments borrowed from folk art, but not so much decorating the architecture as emphasizing its facelessness. Contradictory works also arise when the achieved visual and architectural ensemble is destroyed by the unsuccessful inclusion of elements of decorative and applied art in it.

The first essential condition for the emergence of a true synthesis is that architecture, first of all, must itself be an art. In the formation of its artistic appearance, fine art can, and often should, take part.

Sometimes you can meet with a kind of underestimation of the artistic value of architecture as such.

In striving for the artistry of architecture, however, first of all, they rely on synthesis, on fine art, forgetting that without the artistry of architecture itself, synthesis will not work.

When architecture itself is artistic, that is, truthful and expressive, it needs fine art as a development and concretization of its own architectural image. It is necessary not as a substitute, but as an addition and "continuation" of her artistry.

When it comes to synthesis, the union of two equal arts is assumed, directed towards a single goal and giving a new artistic quality. Each of the synthesized arts contributes to this new quality.

A true synthesis is achieved only on the basis of humanism and realism, both in architecture and in the visual arts. After all, each of these arts is by its nature truthful and humane, and it is in this that they go towards each other and are able to unite to achieve a common goal.

The humanism of architecture is that it is intended for the progress of man and mankind, that is, it meets the nature of life, the material and spiritual needs of people in a certain society, helping their formation and development. The realism of architecture lies in the truth of its design, function and external appearance in relation to the way of life of people and their social and aesthetic ideal.

The question of the interaction between the arts cannot be posed in the abstract. In the development of artistic culture, this interaction can have a double meaning. In some cases, the interaction can be fruitful, with positive consequences, in others it can be fruitless, giving negative results. Whether the interaction of the arts is fruitful or not is not a general answer to this question. Everything depends on the specific nature of the interaction, as well as on the ideological and social basis on which it takes place.

In the spatial artistic system of the synthesis of arts, its artistic-figurative integrity is determined by the nature of the manifestation of the general laws of the integrity itself and their interaction with the laws of individual types of art. The general, developing and manifesting itself in the special and united, is enriched and acquires individual uniqueness.

synthesis art aesthetics

Introduction 4

1. What is art? 5

2.Interaction of art and technology 7

3. Interaction of art and technology: prospects for development. eight

4. Manifestation and role of new technologies in art. ten

5.Problems 12

6. Conclusion 13

7. References 14

8. Sources used 14

Introduction

Historical milestones in the history of contemporary art and technology are widely known in the West and information about them can be easily found in media art centers, public libraries, universities and art academies. In Russia, this crucial information is simply missing, which provokes difficulties when studying the impact of new technologies on art. The relevance of this topic is obvious, because. and art and science are integral and necessary areas in the life of every person.

This work aims to find out the features of the influence of new technologies on art, to consider the specifics of the interaction between art and science, the product of which are new technologies, at the present stage, and to characterize the results of the interaction of new technologies and art.

1. What is art?

There are many definitions of art. Let us name the main approaches to understanding this phenomenon. First, art is a specific kind of spiritual reflection and exploration of reality. Over the years, art researchers have further added: "aiming at the formation and development of a person's ability to creatively transform the world around him and himself according to the laws of beauty." It should be noted that the very fact of the existence of a goal in art is controversial, and the concept of beauty is relative, since the standard of beauty can vary greatly in different cultural traditions (for example, in Western and Eastern cultures), be affirmed through the triumph of the ugly (I. Bosch, A Dürer, modernism and postmodernism) and even to be completely denied (the art of the absurd). Secondly, art is one of the elements of culture in which artistic and aesthetic values ​​are accumulated. Thirdly, it is a form of sensory knowledge of the world. There are three ways of human cognition: rational (logical, abstract, based on thinking); sensual (based on emotions, feelings) and irrational (based on intuition). In the main manifestations of the spiritual cultural activity of a person, in the block of socially significant knowledge, which is the symbolic image of culture (science, art, religion), all three are present, but each of the spheres has its dominants: science-rational, art-sensual, religion - intuitive. Fourthly, in art, the creative abilities of a person are manifested (the problem of the artist-creator). Fifthly, art can be considered as a process of mastering artistic values ​​by a person, giving him pleasure, pleasure (the problem of perception and understanding of art).

Art is multifaceted, it is the soul of man. Art is the richest world of beautiful images, it is a flight of fantasy, it is a desire to understand the meaning of life and human existence, it is the concentration of human creative forces... Art is a multi-tiered, upward-looking Buddhist pagodas, an exquisite pattern of Muslim ornaments, the mournful face of the Mother of God, looking at us from Russian icons... Art is the perfection of ancient statues, the grandeur of medieval Gothic, the beautiful images of the Renaissance Madonnas, the riot of air, light, life among the Impressionists, these are the mysteries that surrealism asks us... Art is the greatest creations of Dante and Michelangelo, Shakespeare and Pushkin, the paintings of Leonardo and Rubens, Picasso and Matisse, the brilliant music of Bach and Mozart, Beethoven and Chopin, Tchaikovsky and Shostakovich, the sculptures of Phidias and Poliklet, Rodin and Mayol, the performances of Stanislavsky and Meyerhold, Brecht and Brooke, films by Fellini, Bergman, Tarkovsky. Art is what surrounds us in everyday life, comes to our home from TV screens and videos, sounds on the stage and in audio recordings.

If we try to succinctly define what art is, we can say that it is "image" - the image of the world and man, re-worked in the mind of the artist and expressed by him in sounds, colors, forms. Artistic images reflect not only reality, but also the worldview, the worldview of cultural epochs. Researchers, trying to understand the nature of art, saw in it the realization of the instinct of decoration and imitation of nature, and a means of communication between people and a source of knowledge of the world, and a kind of coding of information about historical periods and peoples, considered art as a text and a sign system, as a game, pleasure , a manifestation of the irrational and unconscious beginning in man, saw in him a way of self-expression and self-consciousness of mankind through the personality of the artist. All these interpretations reflect the accumulated knowledge about art and reveal different facets of culture.

2. Interaction of art and technology

The 20th century is called the century of technology and integration. In this regard, the problem of the ratio arts and technology. It is in the modern era that art photography, cinema, television, stage, and light music appear. Thanks to technology, the "linguistic", expressive possibilities of art are expanding. The theater is not only the actor's play and the director's skill, but also the lighting and musical design of the performance. Sometimes lasers, slides, films, topography are used in theatrical productions (Prague Theater "Laterna Magica"). In music, a new way of sound production appears - electronic. The "intonation vocabulary of the era" (an expression of the Russian composer and music critic B. Asafiev) is replenished due to the assertion of the noise element in music and the emergence of an urban sounding sphere.

The rapid development of computer technology and technology, as well as the use of computers, made it possible to obtain an unusual sound with the help of electronic synthesizers. The emergence of "electronic music" was prepared not only by technical progress, but also by a change in the very artistic thinking, which becomes more synthetic, reflecting the integrative processes of technogenic civilization. In the latest computer synthesizers - video synthesizers - the work is based on the principle of translating electronic sound into visual forms. So, already in the early 80s, the American composer D. Berman used a video synthesizer in his compositions to translate electronic sounds into color spots.

Another "synthetic" type of creativity is multimedia production, which involves the demonstration of transparencies, films while performing music. The first attempt at such creativity was made at the International Exhibition in Brussels in 1958 in the pavilion of the Philippe company. This composition was called "Electronic Poem": three arts - architecture (a specially built pavilion according to the projection of the Greek architect Xenakis), color projections (developed by the French architect Le Corbusier, he also owns the general idea) and electronic music (written by the American composer, experimenter in the field of electronic music Varese) - remaining independent and acting in parallel, united into a single whole. In multimedia, art can merge with the environment, nature, music is filled with the noises of everyday life, various means are used in "performance" - sounds, pictures, smells, colors. Thus, the interaction of art and technology, leading to the emergence of new synthetic genres and types, contributes to the expansion of the framework of traditional artistic culture.

3. Interaction of art and technology: prospects for development.

According to the conclusion of the researchers of the problem of interaction between art and technology, at present, the inconsistency in the relationship between the fields of art and the world of technology is becoming more and more noticeable.

Throughout the history of mankind, art and science have interacted everywhere and in many ways. There are areas where it is art that affects technology and production, as well as areas where the process of such interaction looks more than natural (design and architecture are an example of such interaction). From the fact that technology and art are in continuous development, their interaction always remains dynamic.

Art historians single out several periods in history when the nature of such interaction changed qualitatively. The recent period includes the instantaneous reaction and reflection of the art sphere on technological events and their meanings. This is the case with the use of certain technologies to create new forms of art. For example, a photograph.

It is clear that over the past two decades we have been experiencing one of the fundamental changes. From the perspective of using technology to create new forms of art, advances in computer technology offer far more possibilities even when compared to such revolutionary events as the invention of photography or cinema. An interesting aspect of new perspectives is that if in the process of photographing it is difficult to predict many nuances of the very result of creativity, then when using computer technology there is a rather large technological gap that must be overcome at the beginning of the creative process. This is confirmed by the fact that many people who are able to become network artists using new technologies in their work traditionally shied away from technical education and have not yet reached the level of technical competence that is necessary to realize their own artistic potential through new technical possibilities. Obviously, a certain amount of new creative possibilities can be drawn from this rapidly developing area, but before that, a sufficient amount of effort must be spent on educating and supporting artists who seek to learn new things. We hope that the skills acquired by the artist will be properly reflected in the work.

As historians of contemporary art note, today in Russia there is a unique situation for the prosperity of computer art. First of all (comparing with the experience of the West), the percentage of professional artists who have a good training school behind them is disproportionately large in relation to the population of Russia. In contrast to the Western style of education, where a person with artistic inclinations can deal exclusively with humanities from a young age, without bothering to study technical subjects, in Russia a large percentage of the study time is allocated to study the exact subjects, at least until the end of high school. Finally, despite the openness of Russian society and the availability of various kinds of information about technologies from the West, the Russian population is in a state of increased attention to technological and computer innovations, compared to their counterparts in the West. As a result of these factors, artists in Russia represent a group ideally suited to "absorb" new technologies and use new techniques in their work.

Close collaboration between geographically dispersed artists through the creation of a single work of art is one of the new paradigms made possible by advances in technology. The education of artists in the field of new technologies and how they can be used in the creation of new art forms is another area that various tandems of contemporary experts and artists are working on.

4. Manifestation and role of new technologies in art.

As a result of the technological revolution, cardinal changes have taken place in all spheres of human activity, including art. New technologies have influenced the artistic environment, and as a result, a new phenomenon of art has emerged - digital arts.

Digital arts are understood as such types of artistic activity, the conceptual and productive base of which is determined by the digital environment. The resulting neoplasm is actively discussed by specialists in a wide range of areas related to both art, culture, and science and technology. The advent of digital arts has led to the emergence of new artistic genres and forms. Areas such as 3D animation, virtual reality, interactive systems, and the Internet have found unprecedented creative possibilities. Already well-established art forms - cinema, two-dimensional animation, video art, music - digital technologies have also strongly influenced, contributing to the creation of new genre subspecies.

Using the language of digital culture, the advent of digital arts immediately set itself against all other art - traditional art, which is referred to in relation to digital analog. Digital art is an open system, therefore it develops in the context of all art and actively interacts with analog art, influencing it. So, first of all, the most traditional types of fine arts - painting, graphics, sculpture - were influenced by digital arts. Holographic images began to appear, imitating painting, sculpture, relief, even architecture. Art media most actively influenced synthetic arts - happening, performance.

What have new technologies given for art? The answer to this question will simultaneously fix the main features of contemporary art, formed under the influence of technology.

Interactivity is the opportunity for the viewer to come into contact with the artist and even participate in the creation of works.

New artistic means.

The elitism of digital (most often network and media) art.

The most progressive trend in contemporary art today is video art, which has progressed noticeably thanks to digital technology. It is the most democratic form of art in production, where, apart from a camera that can be rented, almost nothing is needed. If it were not for digital technologies in the field of video, then today we would finally say goodbye to such a phenomenon as independent cinema. However, there are problems with the exposure of video art, since the equipment needed for a high-quality display is not cheap.

WEB-design and VJ-ing are closest to salon art, with which they find complete mutual understanding and merging. As is typical for traditional salon art, web design and VJ-ing use artistic means, avoiding conceptual independence and obeying the wishes of the customer. It is WEB design that is most often confused with network art, which has nothing to do with it and is really a know-how that arose as a result of the advent of digital technologies, but not in the visual sphere, but in communications.

Network art today is no longer limited to interactive Internet projects, it comes into reality, creating networks that unite people and create new horizontal means of communication from person to person, bypassing the propaganda machine of the mass media. In this area of ​​art, "analogue and digital" experience the most interesting collisions. Starting as a purely digital art, network art paradoxically evolved into analog art, strongly influencing such phenomena as actionism (media activism appeared) and happening (flash mob appeared). It is noteworthy that the art of nicknames and virtuals naturally connects with the most radical analog art, which exists only at the moment of its creation and requires the direct presence of the author/viewer/participant.

Digital technology has had a huge impact on music. Thanks to the “digital”, an electronic culture (“drum’n’bass”, “chaos”, “easy”, “techno”) arose, which for the past four decades has remained a leader in the field of non-academic music. Electronic means are now a powerful tool for the synthesis of any musical direction, including classical academic music with modern music. So the most popular is the synthesis of rock and pop music, in dance music it is “ambient”, “gothic dark wave” and “emo”. Electronics here, as in the rock of the 60s and 70s, gives the sound a psychedelic tinge. Partly due to the predominance of noise effects merging with harmony, due to medium and slow tempos, as well as funky rhythms.

Today, digital technologies are penetrating deeper into our lives and everyday life, the period of admiration for them has been replaced by a period of reflection and criticism. This is especially noticeable in the field of mass media. Television is increasingly playing the role of an executor for mankind and puts it in the position of a servant of the growing trade. It actively assimilates the discoveries of artists, uses these discoveries in advertising. In this situation, the artists either play along or try to resist, which is also a useful trainer for PR strategies.

5.Problems

Due to the rapid penetration of the technogenic environment into the humanitarian one, not all spheres of cultural life were able to quickly adapt. It is obvious that problems arise in the way of perception of "high-tech art" or art media.

The first is the elementary technical ignorance of our contemporaries. The viewer is still often unable to understand the language and use the technologies that the artist offers him, he often does not use a computer at all and, of course, is not privy to the intricacies of existing discourses related to the art of new technologies. But this is perhaps not the most important thing.

As Kirill Shamanov notes, “the Internet puts a person face to face with the whole world. But, alas, the hopes and euphoria associated with the emergence of new opportunities have disappeared, exposing past problems with greater severity. In the new situation, we increasingly find traces of unresolved philosophical conflicts of the past. From virtual abysses, we again fall into analog abysses, real and, as it turns out, more tenacious” 1 .

The new digital means for artist self-expression, especially the constantly updated hi-tech, no longer arouse enthusiasm, are noticeably profaned and more like sports than art. Many deliberately refuse to use them, returning to the analogue and low-tech, authenticity comes into fashion.

Identifying art as digital or analog is not entirely correct. Each artist chooses for himself whether he should do his work with a sequence of sticks and zeros or use the usual means. At the same time, there are two concepts associated with digital and analogue and of great importance - these are virtuality and reality. They are basic not only for scientific and technological revolution, but also for the entire 20th century and especially modernism with its construction of "virtual" utopias in "real life". So art, after an information explosion, returns from utopian Zion to reality, from which it once turned away.

An artist of new technologies in Russia is still a marginal not only in society, like any artist in general, but also in the local field of contemporary art. He does not resemble a revolutionary bringing enlightenment to the masses, as he would like, but “a lone muezzin on a technological-philosophical minaret” 2 .

6.Conclusion

So, having considered the interaction of art and technology, it turned out that the impact of new technologies on art is undeniable. As a result of the influence of technology on the arts, the phenomenon of digital arts, or art media, has emerged, which are characterized by interactivity, elitism, new artistic means, forms and genres. The most common types of digital art are video art, network art, and animation.

The problem of assessing this influence remains ambiguous. Specialists in the field of art and culture are divided into two camps - those who accept this influence and consider media art a step in development, a promising direction, and those who do not accept it, estimating media art as degradation. It remains to be noted that this problem of the struggle between conservatives and innovators is typical of any stage of cultural evolution.

7. List of references

"Russian Album" - from traditional forms of art to the latest

Orlova, E. Musical education in the context of digital arts // Music at school. Music and Electronics. - Consolidated issue, No. 1. - 2005. - S.71-74.

Shamanov K. Exhibition “New countdown. Digital Russia with Sony"

Culturology. Textbook for students of technical universities / Ed. Bagdasaryan N.G. 5th edition, rev. and additional Moscow: Higher school, 2004.

Carmine Culturology

8. Sources used

http://webcache.googleusercontent.com/search?q=cache:-A0fIrZxh8EJ:www.tisbi.ru/resource/library/Philos/t2/t2.htm+%D0%92%D0%B7%D0%B0%D0 %B8%D

http://bibl.tikva.ru/base/B1724/B1724Part9-143.php#

1 Shamanov K. Exhibition “New countdown. Digital Russia with Sony” / http://www.suggestive.ru/theory/vol011/index.htm.