12. POSTMODERNISM AESTHETICS

Modernism and postmodernism can be qualified as such a layer in art, the theory of art and the aesthetics of the twentieth century, which can be called non-classical. As noted by N.B. Mankovskaya, the theoretical basis of postmodernism aesthetics was the philosophical views of leading French poststructuralists and post-Freudians. Their concepts that emerged in the late 1960s, in the 1980s – 1990s, turned out to be for the Western European aesthetic situation. (Mankovskaya NB. Aesthetics of postmodernism. M., 2000, p.15)
According to the researcher, the specificity of postmodern aesthetics is largely related to the non-classical interpretation of classical traditions. Moving away from classical aesthetics, postmodernism does not come into opposition with it, but seeks to engage in its orbit. The aesthetics of postmodernism has put forward a number of fundamental provisions that allow us to conclude that it is significantly different from the classical Western European aesthetics. This applies primarily to the assertion of the multiple aesthetic paradigm leading to the internal transformation of the categorical system of classical aesthetics.
“Postmodern aesthetics, which goes beyond the framework of the classic logo, is fundamentally adogmatic, alien to the rigidity and closure of conceptual constructions. Her symbols are the maze, the rhizome. The theory of deconstruction rejects the classical epistemological paradigm of the representation of the completeness of meaning, the "metaphysics of presence" in art, shifting attention to the problem of discontinuity, the absence of first thought, the transcendental signified. The concept of non-identity of the text, suggesting its destruction and reconstruction, disassembly and assembly at the same time, outlines a way out of lingual locentrism into physicality, accepting different aesthetic angles - desires (J. Deleuze, F. Guattari), libidinal pulsations (J. Lacan, J.-F Lyotard), temptation (J. Baudrillard), disgust (Y. Kristeva) ”. (See: Malakhov, VS Postmodernism. // Modern Western Philosophy. Dictionary. M., 1991, p. 239)
The modern era is strongly influenced by postmodernism. This is the main direction of modern art, philosophy and science. Postmodernism got its name from the word “modernism”. It should be understood in the following way: “all that is after modernism”. Formed this direction for a long time, starting with the end of the second world war. It gradually found itself in literature, music, painting, architecture, etc. But only from the beginning of the 80s did postmodernism recognize itself as a specific phenomenon in aesthetics, literary criticism and philosophy.
Late modernism represents postmodernism as the enhancement of modernity, as the aesthetics of the future tense and the transcendence of the ideal of modernity. First of all, the sphere of beauty itself and the sphere of art are extremely widely interpreted. This includes the landscape art and the art of walking, making love - that is, the aesthetics of everyday life in general. (Mankovskaya N. The aesthetics of postmodernism. St. Petersburg, 2000, p. 7).
Another feature of postmodernism is the deliberate variety of styles. The modern city refuses restrictions and rushes towards the exotic of other cultures. Postmodernism in aesthetics explodes from the inside all the traditional ideas of integrity, harmony, completeness of aesthetic systems. All that for many centuries, polished, hatched, now undergoes a critical assessment, a critical review.
Postmodern, of course, did not receive a clear assessment in modern society. He was often called a computer virus culture, which from the inside destroy the idea of ​​beauty, of beauty. Many authors are called tomb defaulters, vampires who suck the creative energy of others, insolvent graphomaniac. However, although such criticism does point to the weak points of postmodernism, it is impossible not to see that she does not have time to master the achievements of this new direction.
Postmodernists are disappointed in the ideals and values ​​of the Renaissance and the time of the Enlightenment, because they refuse to believe in progress, in the triumph of reason, in the infinity of human possibilities. Any version of postmodernism bears the stamp of a "tired" culture. It is dominated by a mixture of artistic languages. But, strictly speaking, avant-gardism also claimed novelty. However, in the postmodern, this striving turns out to be radical, acute, even painful in its own way. All update, all alter. Introduce into use the entire experience of world artistic culture, but not at all for glorification, but for ironic quotation.
But why suddenly such an installation? Why rethink the accumulated artistic wealth? First, it is the result of the development of technology, and above all technology communications. Cultures have lost their isolation. Mankind, according to Canadian sociologist Marshall McLuhan, has become a large “global village”. This means that any achievement of culture falls into a context that may turn out to be an unusual background for it. “A trolleybus with advertising, clothes with pictures and phrases, a TV remote control video are the simplest examples of the postmodern” (VP Gritsenko, Semiotic reality, semiotic car and semiosphere. Krasnodar, 2000, p. 199).
Here are the screen shots from the film "Othello". They are replaced by advertising pads. Is this not a new situation for carving unexpected meaning, associative thinking. “Fast switching of TV channels with the help of a remote control, and the viewer's pleasure is largely in the process of pressing the buttons - an activity that gives a pleasant feeling of power over the picture on the TV screen, and in the field of visual aesthetics promising unexpected editing effects” (Postmodernism and culture. Materials "Round table" \\ Questions of Philosophy. 1993,? 3, p. 4).
Another reason for the post-modern domination is that humanity in the twentieth century. survived the experience of total screening on the behavior of people, control of their thoughts. Hence the birth of counterstorming — break the shackles with which the power over people was exercised, eliminate any possibility of dictatorship. Therefore, in the postmodern everything turns out the opposite. If in classical art, composers sought harmony, harmony, then in postmodernity there is disharmony in music. If in painting, artists achieved figurativeness, that is, they created clear outlines of the object, then in postmodern the image is blurry, non-figurativeness, asymmetry is appreciated. If in classical art, naturally, there was a craving for images, for beauty, then in postmodern the ball is absurd, ugly in literature, theater, and cinema. Hence the fundamental rejection of any rules that were born and were fostered for centuries. The canon of postmodernism is the absence of any canon.
Suppose, in Soviet times, works were created that reflected the spirit of the time, and, in fact, the ideological attitudes that prevailed then. Now, in a new spiritual atmosphere, this work acquires another reading. Strange, unusual overlaps of different positions, worldviews are born. What was a heroic turns out to be comic, having lost its pathos.
It is not by chance that the art of postmodernism is characterized by ironic distortion and labor. For example, in former times, a loop on clothes and a label were sewn only inside, but now it is deliberately and defiantly exposed outside. Much of what was considered taboo, secret, secret, becomes public, is made public. Suppose, first of all, political life was not publicized. Max Weber gave this example at the congress of sociologists at the beginning of the century. Once a journalist made his way to a meeting of the parliament and gave a report to the newspaper about what was said among politicians of the highest rank. The journalist was forced to come to a meeting of parliament and apologize for violations of elementary political etiquette.
On this occasion, Weber throws a cue. Had it happened in our day, then a journalist who did not give an account of the work of parliament would have been urged to do so immediately. Political revelations, parliamentary scandals, books about the intimate secrets of famous people — all this has become the norm. The same can be said in general about the close relations between people, about the family. It is difficult to imagine women of the Renaissance, who, having gathered on the square, would tell each other what sexual experiences they had the night before. Playwright Viktor Rozov remarks: it is impossible to imagine Yaroslavnu (from "The Word about Igor's Regiment"), which runs in swimming trunks along the seashore. What was forbidden became available. The video has thrown off the cover of intimacy from the relationship between a man and a woman. The love prank of the president, who became interested in the intern, is discussed by the entire planet. This is not about romantic experiences at all, but about traces of biomass left on the dress of a desperate girl.
It is clear that a person who is used to living in a culture that has strict standards, falls into another situation. Hence, certain consequences that impose an imprint on the culture:
the ideal of validity and general validity dissolved in its rigid, unambiguous and imperative form;
eclectic, confusion turned into the norm of personal life, thinking and behavior;
strict criteria or reference points that helped a person to choose the necessary solution became blurred. Now he himself is forced to give preference to those or other priorities.
The geopolitical space has changed, spiritual orientations have changed, the past has lost its unequivocal assessment, since various assessments of historical heritage have arisen. But this also applies to domestic, everyday issues. You wake up early in the morning and find that the world, which for many years was perceived as the background of your life, has changed. Everything you are used to becomes completely different. And in record time, literally every second, for example, last year, this day was considered a great holiday. You sat at the screen and watched a demonstration. You called friends, postmen brought cards. This day is still considered a holiday. However, no one calls, does not congratulate. Only one proforma remained. Why is she?
All views have shifted. A friend called a fool friend, who enrolled in graduate school. An underpass stuns you with the sound of an accordion. You slow down. A few months ago you saw this musician on the cover of a fashionable illustrated magazine ... In the evening, a television presenter appears on the screen and comments on the collapse of the ruble. Miners overlap rail lines. Teachers and professors are looking for work in commercial stalls.
American sociologist Alvin Toffler writes: “A new civilization is being formed. But how do we fit into it? Do today's technological changes and social upheavals mean the end of friendship, love, affection, community and participation? Will tomorrow's electronic wonders make human relationships even more empty and consumer than today? As if a bomb exploded in our common psychosphere? In many countries, we feel the romance of madness, the glorification of the inhabitants of the "cuckoo's nest." Bestsellers declare that madness is a myth, and Berkeley begins to publish a magazine about the idea that “madness, genius and holiness lie on the same plane, and they should have the same name and the same prestige. (See: E. Toffler. The Third Wave. M., 1999, p. 579).
“Celebrities for an hour” act on the minds of millions of people as a kind of image bomb, and this is precisely their purpose. It took less than a year from the moment when the girl, nicknamed Twiggy, first appeared on the podium to capture her image imprinted in the minds of millions of people around the globe. Twiggy, a blonde with wet eyes, a flat figure and long thin legs, became a world celebrity in 1967. Her charming face and skinny figure suddenly appeared on the covers of magazines in England, America, France, Italy and other countries, and immediately streamed eyelashes , mannequins, perfumes and clothes in the style of "twiggy." Critics thoughtfully talked about the social significance of Twiggy, and the newspaper workers assigned her about as many columns as the share of peace talks or the election of a new Pope.
However, to date, the image of Twiggy in people's minds has largely faded. Attention of the public has shifted to other objects. The reason is that the images are becoming more and more short-lived, and this applies not only to models, athletes or pop stars. In the postmodern era, these image people, both living and fictional, play an essential role in our life, creating behavioral models, roles and situations, according to which we draw conclusions regarding our own life. Whether we want it or not, we learn from their actions. They give us the opportunity to “try on” various social roles and lifestyles without consequences that would entail similar experiments in real life. The rapid flow of personal images can not help to increase the unstable personal parameters of many different people who have difficulty in choosing a lifestyle.
Technique affects the way people live. But it also has an effect on artistic fantasy. A telescope and a microscope would not have been invented; we could not have learned about Gulliver’s travels to the country of the Lilliputians and giants. Postmodernism owes much of its appearance to the emergence of the latest technical means of mass communications - television, video equipment, computer science, and computer equipment. At first, the postmodern showed us a culture that was designed for visual perception. It concerned painting, architecture, cinema, advertising. Postmodern did not seek to reflect reality, as it was in classical realism. He tried to simulate it with the help of video clips, computer games, Disney attractions. “These principles of working with“ second reality ”, those cultural signs that covered the world with the shell of words, gradually leaked into other spheres, capturing literature, music, ballet into their orbit” (N. Mankovskaya, Postmodern Art, M., 2000, . 12).
So, there is a kind of fusion of those vital and practical attitudes that have different nations, ethnic groups, civilizations, cultures. Mass culture mixes everything up, grinds, creates a new look of what can be considered beautiful today. Now in the foreground of a television show is not only a political figure, but also the packaging of a loaf of a machine full of significance, the design of a washing machine.
New art, of course, brought with it new concepts. If the art of the past proceeded from the idea of ​​linear development, that is, a sequential, step by step processable process, then the postmodernists develop the idea of ​​nonlinearity. She was embodied in the term "rhizome". This metaphor was first applied by prominent philosophers J. Deleuze and F. Guattari and borrowed from botany. This term refers to the method of growth of the plant root, which is neither a single nor a bundle branch from a single stem, but represents a fragmented multitude of heterogeneous formations ensuring the development of the plant. But it is in botany. In the postmodern, this metaphor implies the emergence of multiplicity, movement that does not have a predominant direction. It is distributed without regularity, which makes it impossible to predict the approaching stage of development.
This is how collage ideas and a multitude of styles find their application, while all historical styles, elements of artistic culture become equal. It is not difficult to guess that in this context the very notion of “style” as it applies to the current state of culture loses its meaning. Postmodern aesthetics fundamentally reject the idea of ​​consistent integrity. Here is what one of the prominent postmodern theorists Zh.F. Lyotard: “Eclecticism” (that is, a mixture of styles) is the hallmark of all modern culture: a person listens to REG, looks Western, eats breakfast at Macdonald's and dines at a restaurant with national cuisine, uses Parisian spirits in Hong Kong; knowledge becomes an element of television games. The audience for eclectic works is easy ... However, this realism “everything is possible” is actually based on money; in the absence of aesthetic criteria, the possibility remains - and not useless - to evaluate works of art according to the profit it provides. Such realism reconciles all trends ... implying that all trends and demands have purchasing power. ”
The problems of postmodern intellectual strategy are language problems. Its representatives perceive the world as a text. It is here that postmodern claims to express the general theory of modern art.The phenomenon of “poetic language” or “poetic thinking” began to be regarded as postmodern in nature. The main object of postmodernism - Text with a capital letter. One of the main leaders of the postmodernism of the French philosopher Jacques Derrida is Mr. Text.
When we read a work or consider a pictorial canvas, for a postmodernist it is, conditionally speaking, some text, that is, one can find indifference to the author, to the content of the work, and pay attention only to the text itself. But the trouble is, we live in an era when all the words have been spoken. This means that every word, every letter in postmodern culture is a quote. Someone already said that. Imagine that you are a cultured and educated person, want to make a declaration of love to a woman who you consider not only cultural and educated, but also intelligent. Of course, you could just say: “I am madly in love with you,” but you cannot do it, because she knows perfectly well that these words were exactly the same said to Anna of Austria in Alexander Dumas’s novel Three Musketeers. Therefore, to protect yourself, you say:“I am madly in love with you, as Dumas said in“ The Three Musketeers. Yes, of course, a woman, if she is smart, will understand what you want to say and why you speak in this way. But it’s quite another thing, if she’s really so smart, will she want to say “yes” in response to such a declaration of love? ”
When was postmodernism born? The most accepted point of view is that postmodernism was formed in the late 30s and that the first piece of postmodernism can be considered the Irishman James Joyce novel (1822-1941) Finnegans Wake. This work is peculiar to irony, which reduces the tragic attitude that is typical of modernism. Postmodernism for the first time became a philosophical concept after the publication and wide discussion of the book by the French philosopher Jean-Francois Lyotard, “Postmodernism”. In it, he criticized the usual method of narration. “Postmodernism, thus, is something like fragments of a broken troll mirror, caught in the eyes of the whole culture, with the only difference that these fragments caused no particular harm to anyone, although many were confused. (Rudnev VP. Dictionary of culture of the twentieth century. M., 1999, p.223).
According to postmodernists, the text does not reflect any reality. He creates a new reality, more precisely, a lot of new realities, often completely independent of each other. You can read the text, putting into it the meaning that the actual author did not mean at all. But if everything depends on the interpretation of the text, where does reality come from? There is simply no reality. You can say this: there are many virtual realities. Postmodernism made unnecessary the search for boundaries between text and reality. Reality is finally eliminated, there is only text.
In the art of postmodernism, Pastish appeared (from Italian. Pasticcio) - an opera composed of pieces of other operas. However, this is not a parody at all, since there is no any serious object worthy of ridicule. After all, only that which is “alive and holy” can be the object of parody. But in the era of postmodernism, nothing is alive and, all the more so, no longer holy. The text generally becomes a flexible device that can be manipulated in different ways. In 1976, the American writer Reiman Federman published a novel that can be read at the discretion of the reader (it is called “At your discretion” - from any place, shuffling unnumbered and unfused pages). This literature soon became computerized, it can only be read on the display: press a button and transfer to the hero's background, press another one and change the unpleasant end to a good, joyful one.But if you want bitterness, feelings of tragedy, you can do the opposite. Switch from a happy ending to the inconsolable, dramatic.
Three years after the appearance of this novel, Jacques Rive published the novel quotation “The Young Ladies of A.”. In this work 750 citations from 408 authors are collected. This work can also be considered original. After all, it was made by a specific author. However, in essence it is a collection of quotes. The French philosopher Jacques Derrida introduced the concept of deconstruction into the aesthetics of postmodernism. This is a special relation to the text, which can be indicated by the Russian words "disassembly" and "assembly". You take some text and carried out the repression on it. You can dismember it, scatter, rethink, detect breaks where the full presence of meaning was assumed.
Explaining the meaning of this concept, Derrida warned in his Letter to a Japanese Friend that it would be naive to look for a clear and unambiguous meaning in French that is similar to the word deconstruction. If the term “destruction” is associated with destruction, then the meaning of deconstruction is associated with “machinery” - disassembling a machine into parts for transportation to another place. In the process of deconstruction, it seems that the famous parable about the construction of the Tower of Babel is repeated. Here there is a separation from the universal artistic language, a mixture of languages, genres, styles of literature, architecture, painting, theater, cinema, the destruction of the boundaries between them.
And if you can talk about some kind of deconstruction system in aesthetics, then it has become a fundamental non-systematic, incomplete, open design, a plurality of languages, giving rise to a myth about myth, metaphor of metaphor, story about a story, translation.
The postmodernist takes some familiar text and begins to “personalize” it. It is as if a subtle, sophisticated analysis of verbal tie, the circling of words, which are taken in different contexts, as a result, the original meaning is simply shifted. The text loses its beginning and end and turns into a tree, devoid of trunk and root. The text takes only branches. According to J. Derrida, any element of artistic culture can be freely transferred to another historical, social, political, cultural, aesthetic context.
Thus, art for Derrida is a kind of exodus from the world to a pure absence. This is a dangerous and dreary act, not involving the perfection of the artistic style. Its result for modern aesthetics is the loss of confidence in its divine source and purpose. However, this does not mean that art and beauty in the aesthetics of postmodernism dissolve, erode. Their shift, displacement, drift, liberation from traditional interpretations occurs. (See. Mankovskaya N. "Paris with snakes". M., 1995, p. 27).
Architecture is a spatial letter. But in postmodernism, it loses its autonomy, mixing with other types of artistic expression - cinematographic, choreographic, lithographic. (Lithography is a flat printing method in which the surface of the stone serves as a printing form). Derrida calls B. Chumi, an example of postmodern architecture, who implemented his Madness project in Paris. At the heart of the project are dot-magnets that unite fragments of a split park system - rides, games, ecological artificial creations. Intermittent red dots are aimed at tying up the energy of madness.
Together with architect P. Eisenman, Derrida created the project Choral Work, which includes literary and architectural elements. At the same time, Derrida acted as a designer (design - a term meaning different types of design activity). Co-author Derrida spoke as a writer. As a result, a sample of a multi-voiced, multilingual “architecture” emerged, a kind of pseudo-garden without plants, where solid and liquid, water and stone are connected. “Verbal design” includes choreography, music, singing, rhythmic experiments. The performance of the choir is conceived as an architectural event, with reference to the novel “Notre Dame de Paris” by V. Hugo. In this case, the book is equal to the temple.
The views of Umberto Eco, a famous Italian writer and critic, had a significant influence on the development of postmodern aesthetics. He outlined his views in the margins of the novel The Name of the Rose. This work brought him fame. First of all, he drew attention to the possibility of reviving the plot under the guise of quoting other plots, their ironic rethinking. If avant-garde artists came to a torn and burned canvas, architecture was reduced to a garden fence, house-box, literature — to a collage, to a white page, music eventually — to absolute silence, then the postmodernists refused to destroy art. Simply, they began to invite writers and artists to the ironic rethinking of everything that was created by mankind.
One of the distinguishing features of postmodernism, when compared with modernism, is that irony is often held more than once. It is possible to expose the irony that has already been an irony over something. So there is a kind of game for those, of course, who are able to understand it. But those who do not keep up with such a shift of accents, it remains only to take what has been said seriously. Postmodern collages can be perceived by a wide audience as fairy tales, retelling of dreams.
Deleuze and Guattari are trying to develop classical ideas for psychoanalytic traditions about creativity as insanity. But at the same time they want to bring new elements to this work, carefully investigating the schizophrenic potential of various types of art. From this point of view, theatrical art is very promising. Here for postmodernists there is a permanent landmark - the work of the Italian playwright, director and actor Carmelo Bene.
Bene is trying to create an alternative non-traditional "theater without performance", the so-called minotarny theater. Its specificity lies in the fact that the author, creating paraphrases on the themes of classical plays, “reads out” of them the main character (for example, Hamlet) and allows secondary characters to develop (for example, Mercutio at the expense of Romeo). In this approach, he sees the critical function of the theater.
According to Deleuze, the theatrical figure should take on completely different functions. The man of the theater, in his opinion, is not a playwright, not an actor and not a director. This is a surgeon who performs surgery, amputation. In the play “Pentiseleya. Moment of search. Achiliada ”the actor-machine unscrews and re-assembles the deceased beloved Achilles, trying to“ revive ”her past in the deconstruction act (see Mankovskaya N. Paris with snakes. M., 1995, p. 65).
The word "simulacrum" is picked up by postmodernists. In classical aesthetics, he expressed a semblance of reality as a result of imitation of it. But now the simulacrum is something beyond which there is no meaning and content. This is snag. The French philosopher Jean Baudrillard began to use this concept in 1980. It is known that culture is second nature. Baudrillard wants to show that the organic of the world is being replaced by its natural similarity. As an illustration, Baudrillard takes the novel “The Things” by the French writer J. Peck. The same house, which has always been a home center, is replaced here by “empty space”.
“The absence of a center as a center of the house, portraits and photographs of relatives, mirrors symbolizing reflection for reflection (they are forced out into the bathroom), indicate the end of intimacy, introversion (in this case,“ closeness ”- approx. PG) of the traditional family, extrovert (extraversion - focus on the "other", openness - approx. PG) transparency of life 60-70-ies. Bright, aggressively vulgar colors like signs of the language of pulsations, furniture and household utensils, freed from traditional functions, plastic that can imitate any materials, camouflaged neon light sources, etc. - signs of exteriorization (exteriorization - transition from inside to outside - approx. PG) of a form that separates from a thing and falls away from it like a shell. This is an empty shell, a hollow shell, a false form ... and there is a simulacrum ”(N. Mankovskaya. Aesthetics of Postmodernism.M., 2000, p. 59).
Things are becoming more fragile. They turn into transient. Modern people, accelerating the pace of change, forever broke with the past. We abandoned the old way of thinking, the old feelings, the old methods of adapting to the changing conditions of life. This is what challenges the ability of a person to adapt - will he survive in a new environment? Will he be able to adapt to the new circumstances of life, to being among simulacra?
Each person has a certain model of the world - a subjective view of the external environment. This model consists of tens of thousands of images. They can be simple as a reflection of clouds floating across the sky, and they can be in the nature of speculative abstractions. We can call these mental models an internal warehouse, a repository of images, in which our mental portraits of Twiggy, General de Gaulle, and at the same time some commandments, such as "Man is Good by Nature", are stored.
However, in order for a person to survive, his model must have some general resemblance to reality. Not a single mental model of the world is a purely personal work. Although some of the mental images are based on personal observations, most of them are based on information supplied by the media and the people around them. If society itself remained unchanged, a person would not feel the need to revise his own system of ideas and images in order to link them with the newest knowledge that exists in society. As long as society stably or changes slowly, the images on which a person builds his behavior may also change slowly. But society has entered a sphere where everything happens quickly, inevitably. Of course, this is a terrible symptom of a crisis,which threatens humanity.
When people talk about postmodern, they often return to late antiquity. At that epoch, thoughts about the end of history, about the fact that everything that humanity could express, it had already expressed, were also born. But is it possible to speak of postmodern only as a culture of exhaustion, of crisis. Apparently not. In our era, there is a search for a new ideal of beauty, a new look at the beautiful. The sublime is obscured by the awesome, the tragic is paradoxical .. Postmodernism guides the development of aesthetics deep into, deliberately setting limits to one or another subject, trying to reveal its wrong side.
Postmodern seeks to bring artistic content not only in the narrow sphere of art, but also in everyday life. He tolerates mass culture, appeals to those aesthetic phenomena that seem to have passed away forever. Postmodern covers, if possible, the entire cumulative artistic experience of mankind. Of course, postmodern culture has opened up new horizons in the artistic exploration of reality, but at the same time forced to think about the fate of culture.

TEST 12
1. Why is postmodernism called a non-classical layer in art?

• ? because postmodernism rejected the classics
• ? because postmodernists were embarrassed to call themselves classics
• ? because they did not teach in classical gymnasiums
• ?because they were jealous of the classics

2. What layer in art, theory of art and aesthetics of the twentieth century was called a computer virus of culture?

• ? postmodernism
• ? realism
• ? impressionism
• ?symbolism

3. Can we talk about landscape art in the era of postmodernism?

• ? Who thinks
• ? Is impossible
• ? Not necessary
• ? Can

4. What is the principle of art postmodernism puts forward?

• ? pettiness
• ? integrity
• ? rupture
• ?completeness

5. Which author says that madness, genius and holiness lie on the same plane?

• ? Kashchenko
• ? Toffler
• ? Lyotar
• ? Deleuze

See also

• ancient aesthetics: DEVELOPMENT REGULARITIES, BASIC IDEAS 3 1 Objective grounds for the formation of ancient aesthetics
• 8 2 Aesthetics of classic realism
• 8 4 The aesthetics of positivism
• 16 4 Methods in art Realism as an artistic method
• 3 7 Aesthetics of the Hellenistic era