12 2 Art in the system of aesthetic activity

The outlined methodological foundations of the analysis of art determine the need to comprehend its place in the spiritual experience of mankind, taking into account the general and distinct from other forms, as well as the interrelationships of various types of experience. They are designed to reveal the objective basis on which spiritual experience consisted in its certainty as artistic and formative ability, and also communication and its influence on the formation of the human spirit spirit.

Recall that the objective basis of the specifically human ability to form, and then to create (objectivize) one’s own image in various activities, is the subject-practical activity. It started and its associated with the creation of tools of labor, enhancing the ability of man to create conditions for a more guaranteed survival. the world appears in anthropogenesis \ "material \" of formation and with the warrior \ "model \" forming skills of humanity This ability gives its carriers rice, excellent from all other types of life. Forming skills have determined not only a special place of man in the natural world, but also especially its significance in the evolution of life in general: the phenomenon of rationality of life. The image of the carriers of this ability is fixed in the subject formation. The qualities provided to objects are capable of satisfying not only practical demands , but also to reveal the forming ability as a source of \ "assignments \" of self-valuable life to the subject of formation. Therefore, each practical subject already in early cultures includes an artistic ement In addition, it is not an end in itself becomes life This is the design of its color, diversity \ "life \" combination of different types of material (inlay), applying ornament, drawing, etc. The individualization of spiritual experience and the historical was carried out through object-forming activity in the form of providing objects with individualized manifestations. Only in historical development at sufficiently late stages the individualized and unique image of the subject was consolidated in a purely artistic formation of the subject image in the form of artistic form.

In other words, the ability to form objectivity arises, on the one hand, by the manifestation of the creative nature of human vitality. On the other hand, objectivity reflects and consolidates in each of the types of formation a purely human ability to objectify images of one’s own need, raising the content of the need to a purely biological life to the spiritual. in artistically expressive elements of the formation. In addition, quality in need, objectified in the subject of formation reflects the level of perfection of the subject’s needs; the need as a purely human fits into the images that determine the level of its perfection and quality from the ministracy of the purely biological needs of all other types of natural life. This is one of the weekend, the fundamental laws of objectification of the content of need, it is characteristic of man (humanity ) It has a spiritual character even when it is connected with the pleasure of purely natural needs. It is about the human way to satisfy it. tions through the creation of aesthetic and aesthetic-artistic phenomena that reveal exactly how the process of spiritualization of the natural needs Therefore, in the historical development every time she takes on increasing quality definition in the human needs that have acquired an image forming due skill, ie everywhere dsvichue image of man: the degree of sovershenstvakonalostі.

The value of formative skills is manifested in three main aspects: first, taking into account the possibilities of rooting humanity in the natural world, and therefore the expansion of the very concept of \ "nature \" After all, thanks to the ability and the formation of humanity improves in the development of history natural species In addition, to the phenomena nature belongs to the human creatively forming nature Secondly, the activity of the formation is the source and means of perfection of the person in the process of unfolding the formative skills Thirdly, the nature One world, humanized by the process of formation and its perfect aesthetic-artistic phenomena, another reality arises with respect to nature — spiritualized, and therefore, a cultural phenomenon. As such, it is a condition for new generations to enter the world, fit into the figurative system, defined as humanized, ie . imbued with the human spirit. In it, the visible history of mankind in its present, past and future. Images that acquire the products of the formative capacity of the spirit are the revelation of the spiritualization of the natural world and the individualization of the spiritual world in a person as his subject of a yakogo sub.

Mankind is improving, each time raising to new spiritual levels thanks to the symbolic reality created by it, full of images-models, images-symbols, images-skills, images-according to the needs, there is a creative attitude to the world. is the reality of man as a kind of clan life. Therefore, humanity is defined as a self-producing spirit. In the formative activity, the thinking, feelings, will, creative skills are developed and improved. Otherwise Ovoria, the result of the formation of formative ability is the creation and deployment of the phenomenon of reasonableness of life - a completely new evolutionary education. In the system of forms of experience, \ "produce \" the image of man as a subject of creative skills, as we noted, artistic formation has a special place. Recall that Hegel considered artistic o-forming ability as a high level of formative skills in which the image of a person is fixed as self-valuable - how free is the spirit comprehends the essence of the phenomena of the world and gives it is to them artistically perfect, and therefore internal, internally viable, vital, vital internal life.

The ascent of humanity to the service of spiritual perfection is a long historical process. In it, the spirit acquires certainty and rises to the level where it realizes its creative essence in the free formation of perfection, the highest manifestation of which is art. Formative activity is the emergence of the form \ "Man \" as an aesthetically specific subject vitality and Herder (\ "Ideas for the philosophy of the history of mankind \") n man's endeavor by the perfect view of planetary life and emphasizes that by this obliged to itself Indeed, over the course of a long history of anthropogenesis, the coherence of the interaction of the hand with the subject of rmuvania grows. It is determined by the qualitative difference in functions from the forelimbs of animals exactly as the hand. , reflecting the images of needs Therefore, there is a coherence of interactions of mental structures and hands sets the quality the definitiveness of the process of formation as its rationality. Formative activity is defined as the ability to embody ideal images of needs in the formation material, including the spiritual need to provide ideal life to images of imagination and to experience them as self-valuable in experience. The latter ability is connected with artistic formation that provides objects of expressiveness the perfect life of the virile, the finished life.

Harmonious interactions of intellectual structures and formative skills of the hand are realized in their characteristic performance in two interrelated aspects. The first is the improvement of man as a subject of creative rcho-forming activity due to the increased rationality of relations with the world. This is the ability to bring purely emotional reactions to light through directing them to reasonable certainty. Needs and Means for Their Satisfaction A reasonable person’s relations are qualitatively different not only from reactions Animals, but also from the reactions of the savage. The second aspect is characterized as the ability to render the image humanity to the future need and actions and to keep this image as valuable. Due to the unity of the above-mentioned abilities, the "primary" nature is more and more rapidly being forced out of the field of human vitality. reconstructed in accordance with human needs and framed in accordance with its image \ "second nature \" (spirituality) In fact, the subordination of natural life forms the basis Hence the human spirit creates a different type of space - \ "ideal \" enclosed in images, humanized This process comprehends the natural world, and the means of its subject-standing practice and perfect (work of art) that obrazovaniektichne іdealne (hudozhnє) formuvannya.

Named pattern in the evolution of the form \ "Man \" diversifies together with the types of communication of humanity with the world and the ways and means of creating the image of relationships. Let's say, at a certain stage of history, natural forces acquire an anthropomorphic (human) image. It reflects the image of the human need to create relationships, and relationships which change the reality, giving it the character of symbolic reality, such as in which, in the purely natural world, its other image gleams off - the image of human relation to the world Thus, the natural world, to the infinity of outer space, arises by the objective field of human spiritual interactions, acquiring convenient communication of a symbolic image. In the process of its creation, there are also features of the artistic and formative activity, objective communication and images of natural forces. with human. An artistic element is actively present in it, since the qualities of communication objects determine the very quality of communication I (level th duhovnostiyogo duhovnostі).

Another tendency is known: under the influence of history, distancing itself from nature, humanity finds images to display and consolidate its own \ "otherness \" compared to nature as such. The image of otherness is created by means of artistic formation. So, let's say, is an image of urban development that embodies the idea spirituality of human life in the forms of its isolation from the natural space and elevation above it, you divide the architectural forms, their symbolism and way of placement in space is a reflection of m, the peculiarity of human life as a spirit that rises above naturalness. Thus, cities in the Ancient World once again stood on an elevation. Consequently, the pavement was laid on the chest of the earth, the city was fenced with walls, emphasizing its difference in comparison with the natural space. forms a different image of relations with it: the space of cities expands, acquiring an incomplete character, with the potency of the transition of one city to another spiritual certainty of urban space The properties create statues of both heroes and rulers (\ "earthly gods \"), temples, theaters, palace buildings of scabbard, palazova forgetful skinny.

Such a phenomenon is the rooting of the human image, certifying its entire permeability in physical space and is unfolding in the richness of the nuances of manifestation as the formative ability of the spirit. This phenomenon of creating space by the freedom of the ode that acts as realized in the images of the free creative spirit of humanity. the growing egoism of humanity After all, creating a situation e duzhzhennya (distancing) from the \ "primary \" nature, man (humanity) objectively condemned t itself into slavery in its own nature. It loses interest in the natural world as a subject of a practically interested attitude. Depletion of the image of relations with the world is reflected in the ugliness of architecture, arises only by construction, and not by an artistic image. This leads to another important conclusion: Evolution and development of life in the vast wealth of its forms - it is a creative process; a concentrated embodiment it acquires in the creative abilities of a person there is creativity manifested in its entirety as natural on-evolutionary and socio-historical process of ignoring one of the components of creative evolution, especially the destruction of native species in its inherent richness of the manifestations of life, its dangerous consequences for the life of the human spirit duhittya lyudskogo.

However, let us consider the positive consequences of the evolutionary formation of formative skills that determined the further growing wealth of human creative abilities to such higher forms as science and art. Thanks to the formation of objectivity, a person separates from natural species. Human needs experience a rise over immediate primacy by giving them spiritual content. For example, the corner of the famine of hunger or salvation from the cold is carried out within the limits of their spiritual image Satisfaction of the need for food has brought a person to a new qualitative level, not only by learning to grow new types of it, but also by the fact that the nature of consumption has acquired a new - inspired quality. It is a phenomenon of aesthetic growth of biological need for its primary nature. as it was said, they serve as instruments of consumption. They distance the hand from the object of indifference, creating a space of freedom, i.e. aesthetically defined space of volitional overcoming the instinct of hunger due to the time it was quenched. The artistic and aesthetic qualities of the tools of consumption deepen the aesthetic nature of the process. This ability significantly distinguishes human and animal food consumption. The type of food is also decorated and aesthetically shaped due to the formation of its components and the direction in a certain frame, making out the product with the help of dishes (pot, plate, vase), etc. In their formation, artwork plays an important role. Consumption as an activity also elevated above space and formed by a certain objectivity, the image of which provides such a process of aesthetic certainty and appearance. Let's say, in silt with food, rush above the ground plane, directs the consumption process to the limits of the sublime, even spiritualized Animals consume food directly from the ground, \ "without intermediaries \", only with the help of organs with life: mouth, teeth, language, all the activities aesthetically defined character as the activity of objectification by the spirit itself, in the form of creating ideal images of one’s own needs, sometimes in the objectivity of objectifying these images in the subject formation, then in communicating with the existing subjectness, which serves to satisfy the needs that led to its formation. creating your own image with the help of activities providing the image of objects of indifference So, forming the skill, directly related to the pleasure of versatility of needs a human being to her, is a way for mankind to create a wooded symbolically filled image, arises by revealing the spirituality of human existence by the creation of a human buttja.

The process also opens in its development as a phenomenon of a purely ideal formation of natural objects in the form of names, and then providing them with an ideal image along with their naturalness. Thanks to this point, they acquire aesthetic status, are defined as a phenomenon of consciousness. the word The highest manifestation of the artistic formation of the world in the form of a poetic speech. The earliest forms of it are a poetic appeal to the gods. Consequently, aesthetic and artistic This formation reflects the logic of the relations of communities and the logic of consciousness generated by them. In the folk tradition there is a tying of objectivity that personifies collective ideas of well-being, beauty. Aesthetic objectivity in the popular representation is not isolated from the whole and reflects the worldview according to the principle of \ "everything in everything \" The material world appears not only a source of physical survival, but also objectified by the being of the spirit, because it reflects the qualities of people - creators of objectivity and its owners. рузка образа предметно сти хорошо прослеживается в народной обрядности, в частности в колядки Слова-величание в щедривках - это «словесная предметность\" произнести слова-пожелания - значит уже создать предмет, принять ймни его потенцию Народ верит, что слово только своим появлением способно творить то, что им обозначено [4, с 231] С символической предметности, согласно народным представлениям, вырастает эстетическая Понятие \"эстеты ческая предметность »имеет при этом два значения Современное ее понимание связано с качествами предмета: как он представляет себя, а значит и своего владельца Другое, более раннее понимание, связанное с символическими м назначению предмета: верой в его возможности управлять жизнью человека, определять ход судьбы Скажем, гадания на вещах в народной традиции было \"установкой судьбы\" девушке: куда ботинок упадет, в т ой сторону и замуж идти [6, с 14вчині: куди черевик упаде, у той бік і заміж іти [6, с. 14].

В развитии истории, по мере развертывания деятельной способности человечества и его формирующих умений, процесс предоставления образа распространяется на весь природный мир, приобретает человеческого образа Формирующая деятельность пост тает закономерностью человеческой жизни Человечество объективирует свой образ в природный мир, раскрываясь все возросшим уровнем формирующих умений и численно и видовой возросшими образами умений, отражающих возросшую качество потребностей Важно констатировать, что предметность во всем богатстве этого понятия - реальный способ бытия духа Это способ \"воплотиться\" в предмете, чтобы быть реально присутствует в бытии время это и сп лиц делать жизнь: формировать новые объекты, чтобы наполнять собой действительность, разнообразя ее, и тем самым оказывать ей все нового богатства граней, разнообразие образозмаїття образу.

Символическую реальность, созданную человечеством как органическое ему среду жизненности, служит символом возвышенности над природой, правомерно характеризовать как первый уровень объективации духа в материи формирования Это первый уровень его символизации В символах предметности дух представляется источником и средством для создания эстетической реальности, в отличие от чисто природной Вместе с тем в этой деятельности он определяется как дух, как сверхъестественная реальность, как символический мир идеального бытияття.

Ценность духа в его формирующих возможностях приобретает дальнейшей реализации в мифологии, являясь деятельностью поименування явлений как способа предоставления им другой, по сравнению с чисто естественной, жизненности В акте по оименування происходит одухотворение предметов и явлений природного мира Они привносятся в сферу человеческой жизни как его составляющая и как активный фактор созидания жизни Деятельность поименування возникает т им самим созданием образа согласованных взаимодействий с природными силами Этот феномен характерен для мифологического сознанияості.

Наряду с названными видами формирующих умений, которые закреплены в чувственно воспринимаемых предметах, которыми полнится человеческую жизнь, дух объективирует себя как самоценный в художественном формировании Создание собственного обра азу в прямых, непосредственной, неотчужденный, совершенных формах приобретает в нем характера внутренней необходимости Формирующие возможности духа - процесс, в котором он утверждается как самоценное творческая сил а, а деятельность формирования предстает наиболее подходящей его сущноститі.