Art (artistic creativity). A short dictionary of aesthetics “Art and visual perception”

ARTISTIC CREATIVITY - the process of creating new aesthetic values ​​of artistic creativity is an element of all types of social and production activity of a person, but in its full quality it finds expression in the creation and performance of works of art. The ideological and aesthetic orientation of creativity is determined by the artist’s social and class position, his worldview and aesthetic ideal.

Creativity in art is innovation both in the content and in the form of artistic works. The ability to think productively is certainly a mandatory sign of talent. But innovation is not an end in itself. Creativity is necessary for the product of aesthetic activity to have both novelty and social significance; so that its creation and method of use meet the interests of the advanced classes and contribute to socio-cultural progress. Unlike formalist aestheticians, who view creativity primarily only as the construction of new forms and structures, Marxist aestheticians proceed from the fact that heuristic work in art is characterized by the creation of new social values ​​within the framework of such structures.

Artistic creativity is inseparable from the development of cultural heritage, from which the artist spontaneously or consciously selects traditions that have a progressive meaning and correspond to his individuality. Creativity, on the one hand, presupposes the acceptance and development of certain traditions, on the other hand, the rejection of some of them, their overcoming. The creative process is a dialectical unity of creation and negation. The main thing in this unity is creation. The preaching of self-directed destruction, characteristic of many theorists of decadence and modernism, turns into pseudo-innovation, draining the creative potential of the artist. In order to move forward in art without repeating anyone, you need to know well the achievements of your predecessors.

In terms of socio-gnoseological creativity is a figurative reflection of the objective world, its new vision and understanding by the artist. It also acts as an actualization of the artist’s personality and life experience. Self-expression, subjective in nature, is not opposed to the objective, but is a form of its reflection in a work of art. In this case, this self-expression turns out to be simultaneously an expression of generally valid, popular and class ideas.

Freedom of imagination, fantasy and intuition, breadth of outlook, the desire for a comprehensive knowledge of existence are necessary components of creativity. At the same time, the artist also needs self-restraint in the selection and interpretation of life material, concentration and selectivity of attention, strict discipline of the mind and heart. A holistic artistic image, in which the creative process results, is born only when the artist is able to see and deeply comprehend what is natural and typical through life situations and the facts of his own biography. In this capacity, artistic creativity acts as creativity according to the “laws of beauty” (K. Marx).

"Style is the center of art history." Heinrich Wölfflin

Art is diverse. However, even such a complex artistic phenomenon has its own universal key that allows it to be understood and structured. The name of this key code is style.

The style is systematic, unites and structures different phenomena - simple and complex, manifesting itself in all types of art - from ornamentation to architecture. Therefore, we will explore the manifestations of a particular style on a wide variety of artistic materials and in a broad cultural context.

“The development of style,” as the classic of style theory Heinrich Wölfflin noted, “is accomplished in the same way as that of a plant, which slowly unfolds leaf after leaf until it becomes round and complete, complete on all sides.” We will consider style in a historical context - from antiquity to the beginning of the 20th century.

Developing both in time and space, the style acquires new features that form national art schools. We will pay attention to the work of certain artists, architects, painters, sculptors and see how, at the level of individual styles and creative manners, certain techniques and methods of a particular style are developed.

The course is designed for 19 lessons.

Dialogue between history and modernity. The Old and New Acropolis in the architectural design of Bernard Tschumi.

“Greek miracle” is what the French historian and writer Ernest Renan called the unique culture of Ancient Greece. Such a high assessment is understandable. The Hellenes laid the foundation of classical art, the “foundation of the foundations” of classical styles, which became the starting point and guideline for the stylistic searches of subsequent generations of European artists.

As the modern culturologist M. L. Gasparov said: “From century to century, almost the same definitions that were once given by Euclid were rewritten in mathematics textbooks; and poets and artists mentioned and depicted Zeus and Apollo, Hercules and Achilles, Homer and Anacreon, Pericles and Alexander the Great, firmly knowing that the reader and viewer would immediately recognize these images. Therefore, getting to know ancient Greek culture better means better understanding Shakespeare, Raphael, and Pushkin.”

The lecture will pay special attention to the features of the order system, which determined the face of classical architecture, vase painting and Dressel's typology, the principles of the golden section, the doctrine of harmony of spheres and its influence on the development of the theater, the sculptural canons of Polykleitos and Phidias, as well as modern research in the field of ancient history.

Ancient Rome as a special independent artistic phenomenon began to be studied only in the twentieth century. Prominent scholars of antiquity believe that the real history of Roman art has not been written, the full complexity of its problems, the originality and polyphony of artistic language and style systems have not been revealed. One of the reasons is that “Ancient Rome” means the great Roman Empire - all the countries and peoples it conquered that were part of the Roman Empire - from the British Isles to Egypt. And Roman art was created not only by the Romans, but also by the peoples they conquered: the ancient Egyptians, Greeks, Tires, inhabitants of the Iberian Peninsula, Gaul, Ancient Germany. Another is that until the 19th century, most of Rome was buried underground. New generations erected buildings and laid out areas on the site of previous buildings. It was not so much archaeologists who made their contribution to the study of the monuments of the Eternal City as architects, sculptors, artists, and poets, who organized long expeditions and literally dug out wonderful finds from the thickness of the earth and sand.

The lecture will pay attention to both classical and little-known monuments of architecture, sculpture, decorative and applied arts (paintings, frescoes, small sculptures), which became the property of world culture and determined the features of the artistic language of ancient Roman art.
Lecture 3. Romanika. "The World of Cities and Monasteries" — September 28 at 19-30

Scientist, archaeologist and founder of the French Archaeological Society, Arcisse de Caumont made a significant contribution to the study of history, architecture and art. It was he who in 1824, to characterize European art of the 11th-12th centuries. introduced the term “Romanesque” into scientific use.

The Romanesque style was the first style that spread throughout Catholic Europe - from Denmark to Sicily and which combined various elements of Roman and Merovingian art, Byzantine and Middle Eastern, maximally embodied in architecture, monumental painting, sculpture and decorative arts.

Nowadays there is no person who would not be shocked by the grandeur of Gothic architecture. Artistic images express the mystical aspiration of the human soul towards the infinite, divine, and unknown. But few people know that the existence of Gothic, including many architectural masterpieces, was under threat of complete destruction.

Why the Gothic style, so bright and characteristic, was not perceived for a long time as an independent artistic phenomenon, what is the essence of masking and what does it have to do with elegant multi-color stained glass windows, when did the Gothic font appear and why the facades were decorated with fantastic creatures - all these questions we will ask discuss in lecture.

Renaissance. It is difficult to name another cultural era that has given so many great names to artists, sculptors, architects, whose works delight in the depth of artistic images, purity and depth of style, diversity and originality of creative findings. This art is promising both literally and figuratively. It not only used the laws of perspective and chiaroscuro, established the importance of proportions and anatomy, but also united ancient physicality and medieval spirituality into a single whole, opening the way for the creation of the image of a perfect person - homo universalis - and perfect art, based not only on divine inspiration, but and on exact scientific knowledge and mathematical calculation.

Brunelleschi, Alberti, Bramante created new church and public buildings, palaces, harmonious and proportionate to man. Piero della Francesca, Leonardo da Vinci, Michelangelo, Raphael, Titian embodied the heroic concept of man, establishing the principles of humanism and mastering new artistic methods.

The emergence of new and development of “forgotten” types and genres of art - fresco, easel and portrait painting, engraving and graphics, coupled with the grandiose development of architecture, sculpture and literature characterizes this period of world culture.

Baroque is one of the bright classical styles born in the depths of the New Age. It is associated with the heyday of architecture and music, the “golden age” of literature and theater, and the era of great masters of painting and sculpture. The formation of the national self-awareness of peoples determined the originality of this style and the different forms of its existence in Italy, Spain, Portugal, Southern Germany, the Czech Republic, Poland, Lithuania, and the Spanish and Portuguese colonies in Latin America. The names of Bernini, Borromini, Rastrelli, Caravaggio, Rubens, Velazquez, Rembrandt, Vivaldi, Bach, and Handel have entered the treasury of world culture.

During the lecture we will pay attention to a variety of issues: why the Baroque was called the “style of Catholicism”, what prompted Jean-Jacques Rousseau to consider the Baroque a manifestation of bad taste and a “distortion of the beautiful”, why Baroque architecture is hyperscale architecture, and what role did ensembles play in the development of cities? where did ormuschl come from, how European baroque differs from Russian, and how the artistic language of baroque is used in modern art and design.

Lecture 7. Rococo and chinoiserie. Style of gallantry and frivolity — October 26 at 19-30

Rococo is one of the most famous “royal styles”, which coincides with the reign of Louis XV. Developed in the art of France in the first half of the 18th century, Rococo arose as a chamber style of aristocratic living rooms and boudoirs and quickly spread beyond France, influencing the development of European art.

At the lecture we will not only discuss the classics of this style, Watteau, Boucher and Fragonard, talk about the features of the architecture of pavilions and palace interiors, the uniqueness of fritted porcelain and pastorals, the influence of Chinese culture and the development of chinoiserie, but also explore the role of great women - the Marquise de Pompadour, Madame DuBarry, Maria Leshchinskaya in the history and development of art.

Classicism is an artistic style of the 17th – 19th centuries, in which the majestic art of Ancient Rome was considered exemplary, which is why in France this time was called “the time of Minerva and Mars.”

The philosophy of Rene Descartes determined the features and characteristics of classicism. Nicolas Bualov in literature, Francois Blondel in architecture, Nicolas Poussin in painting showed the way to depicting “graceful nature” and creating ideal art. The emerging Academies regulated the artistic life of society, fixing ways of creating academic, “correct” art with characteristic monumentality of forms, logical clarity of composition, restraint of decoration, and simplicity of harmony of the whole.

Imperial style or Empire is a style of high classicism in architecture and applied arts that arose in France during the reign of Emperor Napoleon Bonaparte. The ceremonial, solemn, military-triumphal style developed in the 1800-1830s in France, and a little later - in European countries and in Russia.
The artistic concept of the style with its lapidary and monumental forms, rich decoration, inclusion of elements of military symbols, influence of the artistic forms of the Roman Empire and Ancient Egypt was intended to embody the ideas of the power of power and the cult of a strong state.

“I feel, therefore I exist!” - this maxim of the Dutch mystic Franz Gemsterhuis defined a new direction in art - romanticism. The world is complex and changeable, and only with the help of intuition and irony is it possible to understand its diversity.

Passion for the unusual, the unknown and the new is the essence of romanticism, in which the values ​​of the “non-classical” art of the Ancient East, medieval Gothic, Proto-Renaissance were elevated to the ideal, and the depths of the subconscious and mystical insights showed a new path to creative minds.

At the lecture we will discuss not only the uniqueness of the creative style of Goya, Eugene Delacroix, Teodoro Gericault, Francisco Goya, Friedrich Chopin and Franz Liszt, Alfred de Musset and George Sand, but we will see how the emergence of new materials and technologies influenced the commercialization of art and the formation of mass culture .

Lecture 11. Pre-Raphaelites and British art. Breakthrough to the future — December 6 at 19-30

The influential English critic and art theorist John Ruskin observed the artistic quest of the Pre-Raphaelites for two years before speaking his weighty word in defense of the young association. “It is easy to control the brush and paint herbs and plants with enough fidelity to the eye; Anyone can achieve this after several years of work. But to depict among the herbs and plants the secrets of creation and combinations with which nature speaks to our understanding, to convey the gentle curve and wavy shadow of the loosened earth, to find in everything that seems the smallest, a manifestation of the eternal divine new creation of beauty and greatness, to show this to the unthinking and blind - This is the purpose of the artist." Ruskin's appreciation was so great and so significant that works signed with the anagram P.R.B. entered the context of British culture on a par with academic art of the Victorian era, establishing new standards of artistry

What is P.R.B., what is the novelty and traditionality of the artistic language of the Pre-Raphaelites, where the largest collection of Pre-Raphaelites is stored, what contribution did Ernest Gembert make to the promotion of the work of the brotherhood, how did Andrew Pearce's soap influence the content of the painting "Children's World", what is the continuity of the "elders" and younger "Pre-Raphaelites, what connection exists between the works of the Pre-Raphaelites and the formation of a new art form - photography, what impact the Pre-Raphaelites had on the Aesthetic Movement and the Arts and Crafts Movement, who participated in the project of building William Morris's Red House country house - we talk about this and much more Let's talk at the lecture.

Lecture 12. Symbolism. In search of new meaning

The philosophy and aesthetics of symbolism was formed under the influence of various teachings - from the views of the ancient Greek philosopher Plato to the concepts of Emmanuel Swedenborg, Henri Bergson, Friedrich Nietzsche or Vladimir Solovyov. The symbolists contrasted the traditional idea of ​​knowing the world through reason with the idea of ​​intuitive contemplation, which allows one to penetrate into the secrets of the universe. A symbol in artistic creativity is the universal key that allows you to open the doors of existence.

The collection of symbolism is varied and complex. Each “exhibit” requires a special mental attitude and careful handling, regardless of the subject of research - be it the strange fantasies of Odilon Redon, the bold experiments of Mikalojus Ciurlionis, the “Manifesto” of Jean Moreas or “Correspondences” of Baudelaire.

Lecture 13. Art Nouveau. Belle Epoque

If you understand life as art, as Horta, Gaudí, Guimard, Tassel, Velde or Mackintosh did, then the entire object environment - from the mansion to the fork - turns into an endless journey into the world of beauty, which in Russia was called “modern”, in France – “Art Nouveau”, in Germany – “Jugendstil”, in Italy – “Liberty”.

Among the artists and masters of La Belle Époque, the most famous were Louis Tiffany, Gustav Klimt, Toulouse-Lautrec, Aubrey Beardsley, Alphonse Mucha, Lev Bakst, Mikhail Vrubel, Fyodor Shekhtel. And this is not the entire list of those who transformed European cities, giving them grace and originality.

Art Deco has many names. Among its names are “zigzag modern”, “jazz modern”, “Poiret style”, “Chanel style”... Art Deco is total, like any style, and its sphere of influence is wide: from architecture, sculpture and painting to industrial design and fashion.

Art Deco instantly captivated the world and continues to be a source of inspiration for artists and designers, as it synthesized modern materials and technologies with the traditional art of Egypt and Mesopotamia, the Aztecs and the Mayans.

At the lecture we will discuss the role of world exhibitions in the development and dissemination of style using the example of the Parisian “L'Exposition Internationale des Arts Decoratifs et Industriels Modernes”, we will see the brilliant works of Rene Lalique, Erte, Edgar Brandt and Emile-René Ruhlmann and many other participants Through this exhibition, we will understand the similarities between the interiors of American skyscrapers and the Moscow metro and why Art Deco is on the heels of modernity.

Lecture 15. Werkbund and Bauhaus. In search of style

The Werkbund and Bauhaus, organized at the beginning of the 20th century, existed for two decades, but the ideas inherent in this school were embodied in a variety of fields of art and culture. And this is natural. These schools were advanced both in the composition of their teachers, among whom were Wassily Kandinsky and Paul Klee, Theodor Fischer and Richard Riemerschmid, Walter Gropius and Ludwig Mies van der Rohe, László Moholy-Nagy and Johannes Itten, Gerber Bayer and Marcel Breuer, and in their methods teaching, where practice and experiment were valued as highly as fundamental knowledge.

Currently, the works created a century ago within the framework of these associations continue to inspire modern architects and artists. What is the secret of such success; what influence did the Werkbund and Bauhaus have on the development of the international style; why serial production and typification of the subject environment gave impetus to the development of design; who laid the foundations of modern colorism; when the New Bauhaus opened in Chicago; why Kandinsky wrote the book “Point and Line on a Plane”; who determined the face of German Vogue - we will talk about this and much more at the lecture.

Lecture 16. Constructivism: fireworks of the Russian avant-garde

“We are the architects of the earth, the decorators of the planets,” Vladimir Mayakovsky said loudly, and Moses Ginzburg supported him: “The architect feels... himself not as a decorator of life, but as its organizer.” And these were not just words, but manifesto statements that determined the cultural context of the era, the artistic searches of the 1920-1930s.

What ideas of Moses Ginzburg were developed in the works of foreign masters of architecture after a couple of decades; what is the peculiarity of residential architecture using the example of communal houses and council palaces; what stories are told about the House on the Embankment and the Narkomfin House on Gogolevsky Boulevard; what typical housing looked like for the Soviet elite and workers; for what purposes were reeds and straw, fibrolite and xylolite used; what Labor Palaces and clubs have survived to this day; what kind of work was done by Stepanova and Lyubov Popova for the First Calico Printing Factory in Moscow “Tsindel”, and how they are used in the works of modern fashion designers; what is the uniqueness of the works of Alexander Rodchenko and Konstantin Melnikov, El Lissitzky and the Golosov brothers, Moses Ginzburg and the Vesnin brothers, Alexei Gan, Yakov Chernikhov and Ivan Leonidov; — we will talk about this and much more at the lecture.

Lecture 17. Modernism. Expressive simplicity

Modernism, as the Spanish philosopher José Ortega y Gasset noted, “consists entirely of the negation of the old,” including traditional, classical art. Total novelty became a radical criterion for artistry. The search for a universal language of art led to the rejection of any manifestation of the national and regional, which were discarded in the name of the great international style. A new motto appeared on the banner of architecture: “Form follows function,” which was variously embodied in the work of Walter Gropius and Gerrit Rietveld, Le Corbusier and Frank Lloyd Wright, Ludwig Mies van der Rohe and Oscar Niemeyer, Alvar Aalto and Richard Neutra, etc.

What impact has scientific and technological progress had on architecture; what is the connection between ornament and crime; what new means of expression in architecture have become a priority; and what the search for a universal artistic language led to; – we will talk about this and much more at the lecture.

Lecture 18. Modernism. Riot and search

Modernism is both a rebellion and a search for the fundamental principles of artistic creativity. The history of modernist movements consists of a sharp change of extremes according to the law of the pendulum: the sensory impressions of the impressionists are replaced by the geometric style of Cezanne, the psychologism of expressionism by “neoclassicism” of the 1920s, and the abstract expressionism of the 1950s by pop art.

Why does modernism still evoke the most controversial responses, while remaining one of the largest trends; why this “revolution in art” turned into a rebellion against the classical tradition and had such contagious power; what unites cubism, abstractionism and futurism, dadaism and pop art, expressionism and surrealism; what impact has scientific and technological progress had on the arts; what new means of expression have become a priority and what the search for a universal artistic language has led to - we will talk about this in the lecture.

Lecture 19. Postmodernism. Thin Edges

The art of the second half of the 20th century returned to complex associative series, to “wit, ornament and sign.” The language of creativity has become more expressive and richer. Postmodernism, which replaced modernism, firmly stood on the feet of contextualism, ornamentalism, syncretism, theatricality and irony.

Why Robert Venturi's "Complexities and Contradictions in Architecture" and Charles Jencks' "The Language of Postmodern Architecture" became manifestos of a new direction; what is “reverse archaeology”; and where to look for simulacra; about the boundaries of citation and a new understanding of originality; about why postmodernism is called “fried eggs from the classics” - we will talk about this and much more in the lecture.

Lecturer

Elena Ruban– cultural scientist, teacher at Moscow Architectural Institute and Higher School of Art.

Price:

The cost of one lecture is 500 rubles.
There are no discounts available for this course.
Valid for the course of lectures with an additional payment of 100 rubles.

Entry:

"About photography"

Susan Sontag

Ethics and aesthetics in one bottle.

“The limitations of photographic knowledge of the world are such that it may stir the conscience, but in the end it will never be ethical or political knowledge. Knowledge gleaned from still photographs will always be a kind of sentimentalism, whether cynical or humanistic. It will be knowledge at reduced prices - a semblance of knowledge, a semblance of wisdom, just as the act of photography is a semblance of appropriation, a semblance of rape. The very muteness of what is hypothetically understood from photographs is what makes them attractive and seductive. The ubiquity of photographs has an unpredictable effect on our aesthetic sense. By duplicating our already cluttered world with its images, photography allows us to believe that the world is more accessible than it actually is.”

"Utz" and other stories from the world of art"

Bruce Chatwin

About porcelain cups and those who devote their lives to them.

“Utz spent hours in the Dresden museums, looking at commedia dell'arte figures from the royal collections. Locked in glass sarcophagi, they seemed to be calling him to their secret Lilliputian world and begging for release. His second article was entitled "Private Collector":

“An object displayed in a museum window,” he wrote, “should feel like an animal in a zoo. Having become a museum exhibit, the thing dies - from suffocation and the impossibility of privacy. Meanwhile, the owner of a home collection can, or rather, cannot help but touch it. Just as a child touches an object to give it a name, a passionate collector, whose eye and hand are always in harmony, again and again gives an object the life-giving touch of its creator. The collector's main enemy is the museum curator. Ideally, all museums should be emptied at least once every fifty years so that their collections again end up in private hands...” “How can you explain,” Utz’s mother once asked the family doctor, “Caspar’s manic passion for porcelain?” Perversion,” he replied, “is the same as all the others.”

"Bento Notebook"

John Berger

Philosophy of art from the first person.

“The bodies of dancers devoted to their art are characterized by dualism. And this is noticeable in everything they do. They are governed by a kind of uncertainty principle; only instead of moving from the particle state to the wave state, their body alternates between being a giver and a gift.

They have comprehended their body so deeply that they can be inside it, or in front and behind it - alternately, switching every few seconds, then every few minutes.

The dualism inherent in each body is what allows them to merge together during performances. They lean against each other, lift, carry, roll, separate, join, support each other, and at the same time two or three bodies form a single shelter, similar to either a living cell - a shelter of molecules and information carriers, or a forest where animals live "

"Movie"

Gilles Deleuze

Classification of images and signs of cinema.

“Cinema does not converge with other forms of art, the purpose of which is rather to see the unreal in the world, but creates the unreal or a narrative from the world: with the invention of cinema, it is no longer the image that becomes the world, but the world - its own image. It can be noted that phenomenology is in some respects stuck at the pre-cinematographic stage, which explains its awkward position: phenomenology puts natural perception in a privileged position, which is why movement is also correlated with poses (no longer essential, but simply existential). Consequently, the cinematic movement is immediately exposed as not being faithful to the conditions of perception and, moreover, is exalted as a new type of narrative, capable of “bringing together” the perceived and the perceiver, the world and perception. At least, this is the impression made on us by a complex theory in the phenomenological spirit of Albert Laffe.”

"Tintin and the Mystery of Literature"

Tom McCarthy

Discussions about literary fiction that are very easy to read.

“Open the first old novel you come across: the narrative itself is preceded by an extremely unreliable statement “explaining” how the author knew about the events you are about to read about. The founders of the modern novel worked in the 17th century, when science began to demand that only proven facts be presented, and theology still insisted that lying was a sin. Under these conditions, prose writers resorted to all sorts of tricks so that their “figments of the imagination” and “romantic fantasies” did not contradict the immutable principles of honesty and factual accuracy. Thus, Daniel Defoe assured that it is better to express the truth, “instilling it gradually, under the guise of some Symbol or Allegory”; John Bunyan claimed to be reporting information “from persons of whose involvement in these events I have every confidence,” and Aphra Behn impudently exclaimed in one of her fantastic “true stories”: “I do not intend to entertain you with fiction or any a tale concocted from Romantic Coincidence of Circumstances; all Circumstances, with Precision to the Iota, are pure Truth. I myself was an Eyewitness to almost all the major Events; and what I did not see was confirmed to me by the Heroes of this Intriguing Story, clergy from the Order of St. Francis.”

Tintin's camera, Aphra Behn's monks - all these are literary devices designed to create a veneer of authenticity around fiction. Aphra Behn, like Tintin, even becomes a character and finds herself at the center of the events that she is going to tell the world about. This unity in two persons splits reality into different levels.”

"Architecture as Re-Creation"

Sam Jacob

How urban space reflects and creates history.

“In its free, unfettered rewriting of the past, architecture uses history as a springboard into the future. She endlessly recreates herself, consciously laying her own past into her own future, re-inscribing her inherent myth into the fabric of the future. At the same time, architecture legitimizes its own new proposals by introducing them within the same boundaries as existing languages, materials and typologies. The repetition of what already exists, which accompanies re-creation, helps to soften the shock of newness, while it itself declares itself to be the inevitable product of historical circumstances. Thus, architecture mythologizes its own creation, providing itself with historical arguments and offering a world of the future, all within the confines of its essence.

Architecture's predilection for self-reproduction is more than a joke understood only by the initiated. Unlike, for example, participants in historical reconstructions, she never packs up her things and goes home, because she herself is a house (or another space where we could be). The architectural recreations are completely serious and absolutely real.”

"Action is form"

Keller Easterling

How Gutenberg became a key figure in architecture.

“To understand the meaning of the statement “architecture is information,” that is, to make water tangible, a work of thought is required, similar to the study of the principles of work, but implying overcoming the associations associated with the word “information.” Information, especially in digital culture, is text or code - something that appears on a screen and is recognized using one of many languages. The more widespread such devices become, the more difficult it is to find spatial technologies or networks that are independent of the digital world. The world is becoming an "Internet of Things" where smart buildings, smart machines interact with countless mobile phones and digital devices. Almost every branch of knowledge in the 20th century turned out to be subordinate to computer science, since it sought to rely on management information systems that made it possible, based on calculations and measurements, to give more or less reliable forecasts.

Architecture was also one of these industries, as can be seen in the works of Cedric Price and Christopher Alexander. Late 20th century gurus like Kevin Kelly, in the wake of the economic successes of the digital industry, asked us to imagine cars as “chips with wheels,” airplanes as “flying chips with wings,” buildings as chips for housing, and large chips for keeping sheep. and cows. Naturally, they will all be material, but every gram of their material essence will be simply stuffed with knowledge and information.”

“Mushrooms, mutants and others: architecture of the Luzhkov era”

Dasha Paramonova

About how the era is reflected in architecture.

“A separate and, perhaps, the most radical direction of transformation of the industrial approach in post-Soviet Russia is the use of this practical method in the construction of religious buildings. To serve the spiritual life of its citizens, Moscow must be covered with a uniform network of churches. According to calculations, it is necessary to build at least 200 new churches, but the overall shortage of religious buildings is estimated by representatives of the Russian Orthodox Church at 600 objects. Projects developed by Mosproekt-2 and Mosproekt-3 can be erected in a period of 1 to 6 months. Two types of temple are offered - one-domed and five-domed, as well as various variations of chapels and decoration. “Therefore, by changing domes, endings and color schemes, a large number of options may appear,” says Alexander Kuzmin. This utilitarian approach to construction indicates that religion in the life of a Russian is as natural a thing as a garage or a dacha, and a church in the area is as necessary as a heating station or a children's playground. Cooperation between the state and the church began in the late 1980s with the recognition of the right to freedom of conscience, and in 2012 this union initiated a scandalous court case against artistic activists chanting “Virgin Mary, drive Putin away.” Religion and power are now not just allies, but partners. According to representatives of the Russian Orthodox Church, the construction of standard churches should not only restore historical justice, but also make society more homogeneous, convey the image of a proper citizen who needs walking distance to an Orthodox church.”

"A work of art in the era of its technical reproducibility"

Walter Benjamin

Art with and without aura.

“The uniqueness of a work of art is identical to its embeddedness in the continuity of tradition. At the same time, this tradition itself is a very living and extremely mobile phenomenon. For example, the ancient statue of Venus existed for the Greeks, for whom it was an object of worship, in a different traditional context than for the medieval clerics, who saw it as a terrible idol. What was equally significant for both was her uniqueness, in other words: her aura. The original way of placing a work of art in a traditional context found expression in cult; The most ancient works of art arose, as we know, to serve a ritual, first magical, and then religious. Of decisive importance is the fact that this aura-evoking image of the existence of a work of art is never completely freed from the ritual function of the work. In other words: the unique value of an “authentic” work of art is based on the ritual in which it found its original and first use. This basis can be mediated many times, however, even in the most profane forms of serving beauty, it is visible as a secularized ritual. The profane cult of serving the beautiful, which arose in the Renaissance and lasted for three centuries, clearly revealed, after experiencing the first serious shocks, its ritual foundations. Namely, when, with the advent of the first truly revolutionary means of reproduction, photography (simultaneously with the emergence of socialism), art begins to feel the approach of a crisis, which a century later becomes completely obvious, it, as a response, puts forward the doctrine of l“art pour l”art, which is theology of art."

"Imprinted Time"

Andrei Tarkovsky

A poetic essay about time, music and art in general.

“Time is the condition for the existence of our “I”. Our nourishing atmosphere, which is destroyed as unnecessary as a result of the severance of the individual’s ties with the conditions of his existence. When death comes. And the death of individual time too - as a result of which the life of a human being becomes inaccessible to the feelings of those who remain alive. Dead to others.

Time is necessary for a person so that, having incarnated, he can be realized as a person. But I don’t mean linear time, which means the opportunity to have time to do something, to perform some action. An action is a result, and I am now talking about the reason that impregnates a person in a moral sense.

History is not Time yet. And evolution too. These are sequences. Time is a state. The flame in which the salamander of the human soul lives.”

“Notes on the margins of “The Name of the Rose””

Umberto Eco

Fascinating behind-the-scenes insight into postmodern games.

“Postmodernism is a response to modernism: since the past cannot be destroyed, because its destruction leads to muteness, it needs to be rethought, ironically, without naivety. The postmodern position reminds me of the position of a man in love with a very educated woman. He understands that he cannot say “I love you madly” to her, because he understands that she understands (and she understands that he understands) that such phrases are Lial’s prerogative. However, there is a way out. He should say: “In Lial’s words, I love you madly.” At the same time, he avoids feigned simplicity and directly shows her that he is not able to speak in a simple way; and yet he brings to her attention what he intended to bring to her attention - that is, that he loves her, but that his love lives in an era of lost simplicity. If a woman is ready to play the same game, she will understand that a declaration of love remains a declaration of love. Neither of the interlocutors is given simplicity, both withstand the onslaught of the past, the onslaught of everything that was said before them, from which there is no escape, both consciously and willingly enter into the game of irony... And yet they managed to talk about love once again.”

"Cinema between Hell and Heaven"

Alexander Mitta

A tutorial for dummies on how to make a brilliant film.

“Suspense is something like an examination that the constructive elements of the structure pass before the audience. If the dramatic situation is good, it creates suspense. If the dramatic twist is developed correctly, you will get everything you wanted, plus suspense in the development. If the event correctly reveals the conflict, suspense will grow along with the threat to the hero and unexpected turns of action.

The director who coined the term "suspense" was Alfred Hitchcock. He called suspense "the most intense representation of a dramatic situation that is possible." Hitchcock said that when he started making films as an unknown director, he thought: “How can I get all the stars to want to be in my films? We need to seduce them with a story that has something mysterious and disturbing, we need to awaken their feelings.” This is what brings the story to suspense.

Hitchcock once told French director Truffaut:

When I write stories, what worries me most is not the characters, but the stairs that creak.

What it is? - asked Truffaut.

Stairs that creak and can collapse under the hero. I call it "suspense".

"Sade, Fourier, Loyola"

Roland Barthes

Literary glass bead game.

“In the transition from Sade to Fourier, sadism falls out; in the transition from Loyola to Sade, communication with God disappears. Otherwise, the same letter: the same classificatory voluptuousness, the same uncontrollable desire to dissect (the body of Christ, the body of a victim, the human soul), the same obsession with numbers (to count sins, tortures, passions and even mistakes in account), the same practice of the image (the practice of imitation, painting, session), the same outlines of the system - social, erotic, fantasy. None of these three authors allows the reader to breathe freely; everyone makes pleasure, happiness and communication dependent on some inflexible order or, to be even more aggressive, on some combinatorics. So, here they are, all three united: the damned writer, the great utopian and the holy Jesuit.”

"The Work of Francois Rabelais and the Folk Culture of the Middle Ages and the Renaissance"

Mikhail Bakhtin

How folk culture becomes part of great literature.

“The entire rich folk culture of laughter in the Middle Ages lived and developed outside the official sphere of high ideology and literature. But it was precisely thanks to this unofficial existence that the culture of laughter was distinguished by exceptional radicalism, freedom and merciless sobriety. The Middle Ages, not allowing laughter into any of the official areas of life and ideology, provided it with exceptional privileges for freedom and impunity outside these areas: in the square, during holidays, in recreational holiday literature. And medieval laughter managed to make wide and deep use of these privileges.

And so, during the Renaissance, laughter in its most radical, universal, so to speak, world-encompassing and at the same time in its most cheerful form, only once in history for some fifty to sixty years (in different countries at different times) broke out from folk depths together with popular (“vulgar”) languages ​​into great literature and high ideology, in order to play a significant role in the creation of such works of world literature as Boccaccio’s “Decameron”, Rabelais’ novel, Cervantes’ novel, Shakespeare’s dramas and comedies and others.”

"Notes and extracts"

Mikhail Gasparov

Very witty discussions about literature, philology and criticism.

“Once I happened to say: “We don’t like Lermontov because he is great, but on the contrary, we call him great because we like him.” It seemed to me that this was a banality, but V.V. For some reason, Kozhinov was very outraged by this. It still seems to me that our “like or dislike” is not a sufficient basis to declare a writer great or not great. I would prefer to consider that the writer is good who I do not like, who goes beyond my taste: after all, I have no right to consider my taste good just because it is mine. It would be even better, instead of your own egocentric point of view, to reconstruct someone else’s, obviously worthy of respect: what would Mandelstam say about such and such a modern poet? Pushkin? Ovid? Such hypothetical judgments would probably be more interesting; but usually they don’t think about it, probably having a presentiment: they wouldn’t say anything good.”

"Art and Visual Perception"

Rudolf Arnheim

Psychological background of painting.

“...light seems to be an independent phenomenon or a quality inherent in the objects themselves, and not an influence transmitted from one object to another, “Day” is a bright thing, which is often thought of as a cluster of white clouds that come from outside and move along vault of heaven. In the same way, the brightness of objects on earth is perceived mainly as a property of themselves, and not as a result of reflection. Without taking into account the special conditions that will be discussed below, the illumination of a house, a tree, or a book lying on a table is not perceived by us as some kind of gift from a distant source. At best, daylight or the light of an electric lamp illuminates things the way a match sets fire to an armful of wood. These things are less bright than the sun or the sky, but in principle they are no different from them. They are simply less bright luminaries.

Accordingly, darkness is perceived either as a fading of the brightness inherent in an object, or as the effect that occurs when they try to hide light objects in the shadows of dark ones. Night is not a negative result of the removal of light, but

the positive appearance of a dark blanket that replaces or covers the day. The night, as it appears to children, consists of black clouds that move so close to each other that white cannot break through them. Some artists, such as Rembrandt or Goya, at least in some of their paintings, depicted the world as a dark space, illuminated in places by light. It turned out that they confirmed by means of art the discoveries made by physicists.”

"Selected Works of Leonardo da Vinci"

Leonardo da Vinci

As the man who became a symbol of his time thought.

“The mind of a painter should be like a mirror, which always changes into the color of the object it has as its object, and is filled with as many images as there are objects opposed to it. So, knowing that you cannot be a good painter unless you are a universal master in imitating with your art all the qualities of the forms produced by nature, and that you cannot make them unless you have seen them and sketched them in your soul, you, wandering through the fields, act in such a way that your judgment turns to various objects, and successively consider first one object, then another, making a collection of various things, selected and chosen from those less good. And do not do as some painters, who, tired of their imagination, leave work and walk on foot for exercise, keeping weariness in their souls; They not only do not want to pay attention to various objects, but often, when meeting with friends or relatives, they, although greeted by them, do not see or hear them, and they take them only as offended.”

"Folklore in the Old Testament"

James George Fraser

What and how was the most famous book in the world assembled?

“Russian Cheremis, (modern name - Mari) people of Finnish origin, tell the story of the creation of the world, reminiscent of some episodes from the legends of the Toraja tribe and Indian natives. God sculpted a man's body from clay and ascended to his heaven to bring from there a soul to revive the man, leaving a dog in place to guard the body in his absence. Meanwhile, the devil came and, blowing a cold wind at the dog, seduced her with fur clothing in order to weaken her vigilance. Then the evil spirit spat on the clay body and dirtied it so much that when God returned, he fell into complete despair and, not hoping to ever remove all the dirt from the body, reluctantly decided to turn the body inside out. This is why a person has such a dirty inside. And on the same day God cursed the dog for its criminal violation of its duty.”

"Morphology of a fairy tale"

Vladimir Propp

“We are making a cross-plot comparison of these (fairy) tales. For comparison, we identify the component parts of fairy tales according to special techniques and then compare the fairy tales according to their component parts. The result will be morphology, i.e. description of a fairy tale by its component parts and the relationship of the parts to each other and to the whole. By what methods can an accurate description of a fairy tale be achieved? Let's compare the following cases:

1. The king gives the daredevil an eagle. The eagle takes the daredevil to another kingdom.

2.Grandfather gives Suchenka a horse. The horse takes Suchenko to another kingdom.

3. The sorcerer gives Ivan a boat. The boat takes Ivan to another kingdom.

4. The princess gives Ivan a ring. The fellows from the ring take Ivan to another kingdom; etc.

In the above cases, there are constant and variable quantities. The names (and with them the attributes) of the characters change, but their actions or functions do not change. Hence the conclusion is that fairy tales often attribute the same actions to different characters. This gives us the opportunity to study a fairy tale based on the functions of the characters.”

“Photography is like...”

Alexander Lapin

A fundamental work on composition in photography.

“Of course, the vast majority of photographers use the viewfinder frame as a scope to point the camera at what interests them. In this case, neither the background nor surrounding details are taken into account. In English, the word shoot has two meanings: to shoot and to remove. The real work with the camera is completely different, it is the construction of the frame, its organization. The photographer strives to ensure that nothing unnecessary gets into the frame.

He deliberately selects the details of the future photograph, looks for meaning in their combination and position, composes them, achieving expressiveness, trying to fill the frame with a very specific content. The artist also finds composition and expressiveness in reality itself, but it is more difficult for the photographer; he cannot synthesize his picture from individual observations and must find it as a whole. This is how a thinking, creative, understanding photographer works; photography is a kind of statement, the meaning of which must be “read” by the viewer. Every statement and message must be formalized and organized. For example, a set of arbitrary words without rules of grammar and punctuation will contain virtually no information. The same applies to the visual statement - photography. Therefore, the main thing in it must be highlighted (stresses, exclamation marks), its parts must necessarily be connected (syntax), it, the statement, has a beginning and an end, a significant detail is like a subordinate clause, and so on.”

ART (artistic creativity)

ART,
1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, decorative and applied arts, music, dance, theater, cinema and other types of human activity, united as artistic and figurative forms of exploration of the world. In the history of aesthetics, the essence of art has been interpreted as imitation (mimesis), sensual expression of the supersensible, etc.
2) In the narrow sense - fine art.
3) A high degree of skill and mastery in any field of activity.

encyclopedic Dictionary. 2009 .

See what “ART (artistic creativity)” is in other dictionaries:

Artistic creativity (children)- expression of individual characteristics, attitude to the world around us and to ourselves in an artistic form feasible for the child. H.t. an integral part of the system of aesthetic education and artistic education, a means of personal development.... ... Pedagogical terminological dictionary

ARTISTIC CREATIVITY of children- expression of individual characteristics, attitude to the world around him and to himself in an artistic style feasible for the child. form X t is an integral part of the aesthetic system. and artist education, a means of personal development. Manifestation of X t can be departments of work... ... Russian Pedagogical Encyclopedia

A form of creativity, a way of spiritual self-realization of a person through sensually expressive means (sound, body plasticity, drawing, words, color, light, natural material, etc.). The peculiarity of the creative process in I. is its indivisibility... Philosophical Encyclopedia

A process of activity that creates qualitatively new material and spiritual values ​​or the result of creating an objectively new one. The main criterion that distinguishes creativity from manufacturing (production) is the uniqueness of its result. Result... ... Wikipedia

Activities that generate new values, ideas, and the person himself as a creator. In modern scientific literature devoted to this problem, there is an obvious desire to study specific types of T. (in science, technology, art), its... ... Philosophical Encyclopedia

Among the words that, in their morphological appearance, in their semantic structure, and even in their immediate impression of decay, resemble Church Slavonicisms, there are many Russian literary new formations of the 18th and 19th centuries. This is the word creativity,... ... History of words

creation- CREATIVITY is a category of philosophy, psychology and culture, expressing the most important meaning of human activity, which consists in increasing the diversity of the human world in the process of cultural migration. Term and concept. T.… … Encyclopedia of Epistemology and Philosophy of Science

Modern encyclopedia

1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, decorative and applied arts, music, dance, theater, cinema and other types of human activity, combined as artistic... ... Big Encyclopedic Dictionary

Art- ART, 1) artistic creativity in general - literature, architecture, sculpture, painting, graphics, decorative arts, music, dance, theater, cinema, etc. In the history of aesthetics, the essence of art was interpreted as imitation (mimesis), ... ... Illustrated Encyclopedic Dictionary

Books

• Amateur artistic creativity in Russia of the twentieth century. Dictionary, The Dictionary is a scientific publication in which the phenomenon of amateur creativity is examined from various angles: artistic, historical and cultural, social, political,… Category: Cultural studies. Art history Publisher: Progress-Tradition,
• Artistic creativity. Human. Nature. Art. 1986, Dmitry Likhachev, Mikhail Epshtein, Sergey Sokolov-Remizov, The collection, based on a single integrated systematic approach, examines the following issues: development and protection of native nature; philosophy of nature and its connection with the aesthetics of nature;... Category:

In the second half of the nineteenth century. England was one of the most advanced powers in all respects. The long and stable reign of Queen Victoria, which resulted in economic and industrial growth, made the small island country the “workshop of the world”, a trendsetter of fashion and style. But is a style that allows you to combine absolutely incompatible eclectic things and clutter up interiors with tasteless machine-made “luxury” items really so good? In contrast to this, in the artistic community there was born a desire to return to manual craft production unique and stylish things that the participants of the Arts and Crafts Movement embodied in their creativity.

Industrial boom in England in the second half of the 19th century. led to the fact that among the emerging bourgeoisie and representatives of the new middle class there was a desire to decorate their lives, houses and apartments, filling them with details and interior gizmos that would create the illusion of a “luxurious life”.

But luxury is an expensive concept, so the market is flooded with industrially replicated “bronze” lamps made of painted plaster or magnificent “gilded wood” carvings made of papier-mâché. At the same time, in one room there could be objects of various historical styles, a huge number of draperies and massive frames, which made the interior hopelessly overloaded, heavy and practically uninhabitable. In such splendor, the feeling of comfort so necessary for a person was lost. Action gives rise to reaction, which is what “ Arts and Crafts Movement"(The Arts & Crafts Movement) - an artistic movement whose participants promoted a return to the handicraft folk origins of creativity and sought to create an aesthetically thoughtful living environment for every person. The ideological inspirers and theoreticians of the renewal of the decorative arts in England were John Ruskin (1819 - 1900) and his younger contemporary and student William Morris (1834 - 1896). According to Morris and Ruskin, the main problem of contemporary art was its mechanicalness and factory nature, while what could be more pleasant than labor, work that allows a person to self-realize and gives the pleasure of creativity.

“Just doing something with your hands should be a pleasure,” they propagated. They found the origins of truly folk, handicraft, human creativity in the art of the Middle Ages, when they had not yet invented ingenious machines and machines that churned out “works of art.”

Masters of the Arts and Crafts Movement created wooden furniture, painted with mythological scenes in a medieval manner and finished, like folk crafts, with metal brackets, strips and fittings. Wallpaper and fabrics, including those with silver and gold embroidery, were also actively distributed. All the details of the interiors designed by the artists, and even the costumes and dresses of the residents, were designed in the same style and color scheme, which created a feeling of stylistic integrity and harmony of the space.

The paradox was that manual production was not at all cheap, and inexpensive, replicated industrial “luxury” again found itself out of competition. The style of the Arts and Crafts Movement, like its direct successor, Art Nouveau, turned out to be an art for the elite, an exquisite style of high art. But what could be better than highly artistic individuality and originality! Man's desire to surround himself with stylish handmade things continues unabated to this day, and moreover, we are once again seeing an increase in interest in handmade art.

Workshops and guilds

Based on the theoretical program of Ruskin and Morris, a community of artists was organized, located in the so-called Red House, Morris’s personal estate, which became an example for many associations of a similar type that were created later. For the inhabitants of the Red House, the community served as an opportunity to create a closed commune of artists, where they could live and embody their creative ideas, drawing on the traditions of medieval craftsmen. In 1861, the company Morris, Marshall, Faulkner & C 0 (Morris, Marshal, Faulkner & C 0) was founded in England; the program of this association was formulated by Morris:
“Our goal is to elevate the role of art, with the help of which people at all times have sought to decorate ordinary objects of everyday life.”
Morris defined the beauty of decoration as "harmony with nature." The craftsman's hand must act like nature itself, "until a cloth, a cup, or a knife looks as natural and as attractive as a green field, a river bank, or rock crystal." By the end of the 1880s. Morris's company became a kind of school where many artists and craftsmen studied, who later created their own associations. The most typical example of this is The Century Guild, founded in 1882 by Arthur Heygate MacMurdo. MacMurdo's "Guild of the Century" sought to raise the status of the crafts - building, weaving, pottery and blacksmithing - so that they could take their rightful place next to the so-called fine arts."

Another example of the extension of Morris's guild principle is The Guild of Handicraft by Charles Robert Ashby. Based on the ideas of British organizations, and especially the guild of Charles Ashby, the Dresden Workshops were founded in Dresden in 1898, and in 1899 the Darmstadt artists' colony on Mathildenhey was created, which later became the basis of the German Union of Artistic Crafts and Industry (Werkbund) .

Evgenia Ignatieva, magazine "World of Metal"

Illustrations:

William Morris. 1870
Philip Webb. Red house. 1859, Kent, England. Personal estate of William Morris.
Charles Robert Ashby. Glass decanter in silver frame. OK. 1905
Charles Rennie Mackintosh. Doors of the tea room. Glasgow, Scotland. 1904
Edward Burne-Jones. Scene based on the Annunciation. 1860 Church of St. Colomba. Yorkshire, England.
Crafts Guild. Lord David Cecil's christening cup. 1902
Interior of the second half of the 19th century. "Green Room".