Topic 17 SOCIETY, ART, the spiritual world of the individual 17 1 The subject of aesthetic experience of art

Art is a type of spiritual activity, the highest purpose of which is to nourish the human spirit with perfect artistic images, full of expressive inner vitality. Individual uniqueness of the universality of the content of experience, concentrated in art, is an inexhaustible source of activation of the spiritual structures of the subject of perception for the intellectual experience of the ideal way of being. Expressive vitality of each fact of a work of art stimulates the mental structures of a person for an adequate response. Therefore, art produces a formative influence on its spiritual structures, tuning to harmonious interaction with the artistic perfection of artistic phenomena.

The objective prerequisite for the effectiveness of this process, the transformation of possibility into reality is associated with two main factors: objective and subjective, which in an aesthetic sense arise dialectical unity. A person entering life may not meet with real artistic treasures, and the world of beauty will remain alien and closed to her. Therefore, the environment of vitality is the initial link that sets value ideas: sometimes it forever turns away from real spiritual treasures, sometimes it forms a stable need for communication with them. These are objective prerequisites for the creation of spiritual needs of the subject of the relationship. True, the situation is not fatal, since in each person there is often an unconscious need for harmonious relations with the world. As a result, an often accidental encounter with the artistically beautiful is fraught with a great spiritual upsurge and the need to communicate with it.

However, the optimal situation is the creation of a systematic experience of communication with the best works of world art, because only in this way are they able to form a formative effect on feelings, mind and rootedness in the world of the person to manifest themselves in the sphere of action of the will, that is, be directed at the affirmation of beauty and harmony of relations with the world as an aesthetic measure of a specifically human life.

The concept of systematicity has two aspects. The first is the aesthetic and artistic quality of the works. It is due to their expressive vitality that they encourage constant communication, give birth to the need of feelings, mind, imagination in such communication. The second aspect is that there is a need in the world of the person to turn to artistic treasures to nourish the spirit, to maintain its harmonious vitality. The stability of the need forms the spiritual structures of the subject experiencing the relationship, imposing a measure on his self-expression in relations with the world.

Systematic communication with art forms the concept of the aesthetic measure of relations, allowing to correlate the ideal and real being on their correspondence to the degree of the human, helps to understand oneself through the world of heroes, their feelings and relationships with others, to comprehend the causes of conflicts similar to those that one has to face in real life, sets up mental structures to reject evil and ugliness. For example, the world of "dead souls" in the novel of the same name by the great Gogol is so expressive in its negativity that it appears as a measure of the latter, and then as a criterion for the negativity of assessing phenomena in the process of perceiving them in reality. The expressive personification of stinginess is Plyushkin, dishonest enrichment is Chichikov, empty dreaminess is Manilov, etc. Thus, art helps to form a culture of attitude to oneself and to others, helps to eliminate contradictions and creates prerequisites for organizing relationships in real life according to "models of what is due". The named aspects of the need for communication with art have a purely "functional" meaning and do not rise to the level of aesthetic relationships, although one can notice a certain value of them. The relevance of the problem lies in the fact that the real environment of relationships basically does not contain their aesthetic measure, therefore they cannot be a source of spiritual life of a person, and this is dangerous for society. Without a criterion of aesthetically perceived relationships, people get used to putting up with reality. Therefore, a person is doomed to mental and spiritual devastation or to the monotony of everyday life, in which neither the mind nor the feelings receive sources of nutrition. The consequence of such a situation is either the impossibility of a person who has not developed her potential creative capabilities, or, since she experiences dissatisfaction with life, resorts to wasting it with bad habits that distract from bitter thoughts and dissatisfaction with life and herself. So, the question remains relevant: how to provide life with meaningful content and purposeful certainty in itself, that is, what corresponds to the concept of "aesthetic". Art contains a huge potential for organizing the spiritual structures of man for harmonious interaction with the world, since it reveals the laws of its aesthetic organization. Thanks to the integrity of the work as an artistic reality, art introduces the subject to the fullness of the way of being, revealing the lawful in the experience of its creation.

Above the identification

the persistence of the need to communicate with art is the need of the spirit to feed on the beauty of artistic forms, to be in creative interaction with the ideal world of spiritual treasures in order to increase the spiritual experience of humanity as much as possible. Active experience of the world of artistic beauty is a source of improvement of feelings, which are defined as reasonable feelings. You should not think that it means that a person begins to ignore reality and live above the real world. On the contrary, due to the expansion and improvement of spiritual experience, its perception of reality changes. The latter does not arise self-sufficient, but opens up to the person with its contradictions, therefore, the basis for improving reality according to the ideal is created. Even if the ideal cannot be achieved, the person at least realizes the imperfection of the real world, looking for ways to improve it. That is, the spirit strives to realize itself in the formation of the desired as due. The beauty of art is an important stimulating factor in the self-realization of the individual in the forms of beauty. Imagination, memory are organized by the beauty of a work of art, are introduced to the active experience of its expressive manifestations. That is, the subject of perception in active comprehending-experiencing and evaluative creative activity builds up spiritual experience by the morality of interactions with the object of perception - a work of art. The effectiveness of this process is determined by the level of previous experience of perceptions and the nature of the response to phenomena. Of particular importance in the formation of the ability of aesthetic experience and evaluative activity are the treasures of classical art. They concentrate the experience of aesthetic relations, phenomena in convincing artistic forms. That is why the classical artistic heritage is the most effective source of formation of aesthetic perfection of spiritual experience.

The effectiveness of the process of aesthetic experience and its effectiveness has as a prerequisite a developed culture of perception, the ability to delve into the world of ideal entities, to comprehend their inner vitality in the interaction of feelings and mind. For this, a necessary condition arises for a person to enter the world of artistic treasures from childhood, so that communication acquires the character of a system. Systematicity is the first necessary component of creating the ability to live spiritually fully, absorbing all the wealth of expressive forms of the world in an ideal - artistically perfect way of its existence. Only under the condition of the spiritual structures being tuned to such a level of communication, art is able to be defined as an internal necessity. It is significant that the aesthetic organization of the environment (creation of park ensembles, landscaping of cities, etc.) was preceded by landscape painting, which formed the aesthetic attitude of European society to the natural world.

With the formation of an internal need for communication with artistic treasures, the process acquires a personally defined character and unfolds in the forms of a dialectical ascent of the subject to the highest levels of aesthetic attitude. Here it is legitimate to highlight the following stages. The first is the accumulation of immediate impressions from the perceived, which fit into the emotional response to the course of events, the relationship of the characters, unexpected turns of the plot of the work, etc. Their temporal deployment in literature, drama, theatrical art requires direct participation of the subject of perception, which is subject to the rhythm of events, plot lines of the work. The same temporal character of the experiencing relationship takes place in the process of perceiving musical and poetic works. However, this is the initial stage of the spiritual work of the subject, since direct perception is dominated by emotional tension, which does not allow distancing oneself from the process in order to comprehend the logic of the work as an artistic whole. The immediacy of the experiencing relationship is valuable as evidence of the ability to enter into a situation of "co-presence", to live their lives together with the characters, to rejoice and suffer with them. Therefore, emotional tension in dramatic moments of the course of events can even reach a state of affect, that is, its manifestations uncontrolled by the mind, say, crying, exclamations, and the like. The second stage is a kind of denial of the previous one. Here the mind emerges as the organizing principle of the relationship. It seeks to explain the nature of the emotional response, following the logic of the development of the content of the work: the artistic persuasiveness of the plot lines, the motivation of the heroes' actions, etc. Collecting the work into a whole, the mind analyzes the correspondence between the response of the feelings and the qualities of the work. This process requires the activation of memory, imagination, thinking to comprehend the correspondence of the interactions between feelings and the content of the work, that is, not only the work as an artistic whole, but also feelings become the subject of comprehension. At this stage, the efforts of the intellect are aimed at explaining

the logic of the construction of the work, the uniqueness of its artistic fabric, etc. (after all, only under such a condition does the work acquire internal vitality). As a result of the ability to comprehend the internal logic of the work, our judgments about it do not arise in any way arbitrary. They claim to be objective, provided that we are able to relate each of its elements to the whole. However, this is only an intermediate stage of the aesthetic attitude to the work. If we stopped at it, we would inevitably sink to the level of one-sidedness, losing the vital fullness of the work's being and limiting it to a certain "framework". The third stage is defined as the stage of denial of a purely rational attitude to the work. Above, the final stage of the process of spiritual interaction of the subject with the work of art is the synthesis of logical and sensory principles in the sense of spiritual experience. This is the stage of the development of the relationship in the form of negation-negation, in which denial brings unnecessary logicalization of the process of perception of the work in favor of the integrity and fullness of its comprehension by reason and feelings. This is how the harmony of the spiritual structures of the subject of the relationship is acquired, the possibility of real immersion in the process of comprehending and experiencing the relationship is created, in the work as an artistic whole. Imagination, memory, thinking, harmoniously interacting, help to "create" the work, to build it as if anew already by the consciousness of the perceiving subject. As a result, more and more new facets, nuances of artistic wealth are revealed. Therefore, the work begins to live in the consciousness and feelings with its fullness, unfolding with all its inherent wealth due to the coherence of the interactions of reason and feelings, memory and imagination.

Note that the stages highlighted are intended to trace the complex structure of the process of creatively perceiving the relationship to artistic values. In fact, the developed culture of aesthetic perception of a work has the character of constant creative interactions of reason and feelings with the active involvement of imagination, memory, organs of perception, associative thinking, etc. Having acquired new life in the world of the person, the work takes root in its spiritual structures and is defined as actively co-present in experience, because memory from time to time revives various nuances of events, circumstances, thoughts of heroes, their communication, etc. Active communication with works that especially ignited the mind and feelings is sometimes preserved throughout life.

The pattern of "entering" the world of a work of art is important in that it opens up enormous opportunities for creativity, which is the rational-sensory life of the spirit in the space of works of art. Such a way of developing an aesthetic attitude is possible only in relation to the reality of a work of art. A feature of artistry is that in a work, it seems to have already been fully experienced and meaningful, during each subsequent appeal we each time discover new nuances. They continue to become the subject of experiences and reflections. Apparently, everyone has been in a situation when we proclaim a poetic work known by heart mentally or out loud in order to plunge again and again into the aura of coherence of poetic sounds, full of meaningful depth and melody, to revive the already experienced state of inspiration, which our feelings keep. Music has the same effect on spiritual structures, providing them with internal integrity, coherence of interactions and (which is important and characteristic of a truly artistic work) brings feelings above the ordinary, giving them directions "to the vertical". And only for this reason are they able to embrace the world, which is a harmonious whole for consciousness.

And the very need for further experiences of already perceived works encourages us to visit theatrical performances, art museums again and again in order to communicate with favorite works. That is, art is an irreplaceable source of free organization of spiritual structures of the person into a harmonious whole. Thinking and feeling, getting used to interactions with perfection, are capable of flaring up with the named qualities and, beyond purely artistic perception, organizing themselves into a harmonious integrity of interactions during the perception of any knowledge and the implementation of any type of activity, because they already have an established culture of creative interactions and organized by it.

So, the objective necessity of the spiritual experience of communicating with art lies, firstly, in the fact that through the world of heroes of art and the artistic perfection of works, a person is capable of reaching self-awareness and purposeful improvement of his own world with the content of artistic values.

Secondly, it is capable of being a source of improvement of reality. A person who has a culture of aesthetic attitude is capable of improving life, raising it to the appropriate aesthetic level by the very fact of rejecting limitations

ordinary communication, failure to observe the culture of relationships, etc. By the style of relationships, tolerance of communication and behavior, a person not only demonstrates disagreement with rudeness, but shows how exactly such relationships should be built. This law of relationships applies to all types of activities, attitudes to the environment, the natural world, etc. Thirdly, communication with art is a source of harmonization of the spiritual structures of the subject, the formation of an aesthetic measure of attitude, in itself is a means of organizing relationships not only in relation to art, but also in relation to any spheres of life. The importance of nurturing the need for communication with art from early childhood, which has already been noted, is the first, but not the only condition for the formation of a culture of communication with artistic treasures. The second condition is the qualitative nature of art. An inexhaustible source is classical art, in which a deep artistic idea fits into perfect artistic forms, creating the perfect beauty of the whole. The third component is the environment of communication with works of art. It helps to discover the spiritual treasures of society and humanity, instilling a culture of aesthetic attitude to them. This is a complex process, and its skills are acquired through a long tradition of thoughtful entry into the world of artistic values. The fourth component is the development of methods for creating the experience of aesthetic communication with art. Thus, a comparative approach can be based on the analysis of classical (opera, symphonic) works and pop music to understand the uniqueness of each type of music. The associative method is capable of unfolding the general in themes and motifs of works. For example, lyric poetry from the era of A. Daite and F. Petrarch to the times of Lesya Ukrainskaya, B. Pasternak, A. Akh Matova and L. Kostenko contains many common themes and motifs, despite the differences in figurative language, and this testifies to the wealth of possibilities for creating an image of an object experiencing a relationship. The fifth component is deepening into the creative process due to mastering the skills of image-forming activities (drawing, music-making, versification, modeling, carving, etc.). Mastering artistic "technique" is an important condition for a deeper understanding of the inner vitality of art. In the end, this is the path to oneself: to find out one's own inclination to a certain type of artistic formation. The sixth component is an appeal to the sources of art history to comprehend the patterns of the artistic life of mankind as one of the important factors in the formation of the culture of attitude to the world and to oneself. The seventh component of creating experience is an appeal to literary-critical and artistic-critical works of outstanding art critics, whose impartial, competent judgments have stood the test of time. When our perception of works coincides with the historically established experience of attitude to artistic values, we get a feeling of the rootedness of our spirit in the spiritual experience of mankind.

Note that a certain unifying factor for an active life with artistic values ​​and a necessary component of the formation of aesthetic experience is artistic formation. In the experience of the people at all times, the ability to embroider, paint a house and pysankas, cut out, weave, knit were integral components of creating a cozy life. All members of the community involved in the above-mentioned content of the experience acquired such skills. It was a kind of dowry, without which the youth did not begin an independent life.

In the noble environment, in addition to knowledge of the basics of science, the inseparable elements of education were knowledge of foreign languages, rules of good behavior, the formation of artistic skills - drawing, music, poetry, etc. It is no coincidence that it was the noble culture in Western Europe and Russia that created rich treasures of professional art. Folk art, thanks to the artistry present in its environment, actively interacted with professional art. People from the people - the common intelligentsia - developed artistry into a dialectical unity of folk and professional art, filling the environment with human vitality. Professional art also became a subject of interest among the people. Art historians reported that in Ukraine and Russia in the late 19th - early 20th centuries, peasants, visiting the city at a fair, visited traveling art exhibitions. The national intelligentsia disseminated knowledge, including artistic knowledge, among the urban and rural population.