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Afterpostmodern aesthetics
Vostrikova Elizaveta Dmitrievna.
Afterpostmodern aesthetics. Report. SPB. ICCR, 2020 .-- 9 p.
The report reveals the basic concepts of after-postmodern in the field of culture and aesthetics.
The aesthetic vision of the world of the after-postmodern era is shown, in which the subject comes to life again, recovers, begins to influence and create.
Vostrikova Elizaveta Dmitrievna, 2020.
Introduction
The relevance of the report on the topic “aesthetics of afterpostmodernism” is caused by a problem characteristic of postmodernity: “death of the subject”. This is when an ordinary person loses the ability to influence the processes of his own life, the realization of his rights and legitimate interests, is the object of manipulation throughout his life.
The postmodern era gave rise to its crises:
The crisis of representative democracy : you cannot find a meeting of representatives where the majority of any representation is competent and not corrupt. This crisis is obvious and is a cover for the so-called señorite power (obtaining non-legal advantages with formal equality).
The crisis of rationality , i.e. intentionally or unintentionally, access to knowledge and information cannot be provided equally to everyone.
The crisis of subjectivity : people are objects of manipulation and cannot be subjects of activity. They lose the ability to independently reason and judge. The appeal to reason turned out to be untenable. Therefore, a minority with a good will and intelligence banally took away the main wealth. The crisis that everyone is talking about today is a consequence of the banal greed and immorality of this very minority. Most have automatically become objects of postmodern manipulation. The crisis is so deep that it looks more like a disaster. And it is no coincidence that everyone, even the perpetrators of the crisis, started talking about the aesthetics of the after-postmodern. In fact, the presence of a not entirely obvious, but underlying all crises, the main crisis is recognized - the crisis of moral foundations, in other words - a moral crisis.
Its main feature is the widespread domination of social parasites, mercilessly consuming common planetary resources and leading humanity to a universe of disaster.
Three pillars of the modern - economic system:
Financial capital.
Technologies (natural science, technical, humanitarian, social, etc.)
Organized crime, which is being transformed into administrative crime (APG - Administrative criminal group). APG arises when persons with criminal experience come to power. They begin to use state power for personal, selfish purposes. They irresponsibly commit massive crimes against the property and procedural rights of citizens.
Aftepostmodern is the subsequent era of human development, which will be characterized by the revival of the subject by overcoming the above crises.
Aesthetics is a science that explores human feelings about the vision of the world, how the phenomena of the surrounding reality, objects and events created by man are beautiful or ugly, sublime, tragic, comical, amazing, shocking, beautiful or ugly.
The aesthetic vision of the postmodern world is characterized by the glorification of the power of wealth and the justification of colossal inequality, devaluation of a person in social relations ("no money - not needed, not beautiful, insignificant, not even worthy of pity and compassion").
The aesthetic vision of the afterpostmodern world is addressed to the forms of art that glorify the value of a person in social relations, a creative, moral person.
Morality is a special mood of thinking and behavior of a social subject, which allows not to harm (harm) oneself, others, the environment, harmony of spiritual and material aspirations and actions, a balance of rights and obligations of social subjects.
The ideology of morality is an ideology based on a moral principle, an alternative to the ideology of enrichment at any cost.
In the postmodern era, by means of art and culture, feelings of beauty are formed in relation to social parasites.
Social parasitism is a way of existence of a social subject (individual and legal entity, group of persons, organization, state, etc.), affected by the ideology of personal gain at any cost, a consequence of the cult of the “golden calf”, money-grubbing and double moral standards. The social parasite seeks to live at the expense of other people, without participating in creative work.
Ways of preventing social parasitism - public control and mass ethical assessment of the results of economic and other socially significant activities of a social subject.
A socially parasitic structure is an organization, all efforts of which are aimed at obtaining financial and material resources to support their own existence. A characteristic feature of such a structure is the imitation of its main activity in solving its socio-economic and environmental problems that are relevant to the population.
The aesthetics of postmodernity forms in relation to social parasites such feelings as beautiful, sublime, and in relation to honest and decent people such feelings as ugly, tragic, comic.
The afterpostmodern aesthetics in relation to social parasites forms such feelings as ugly, tragic, comic. And in relation to the moral subject - beautiful, sublime, amazing, shocking, shocking.
The basis of art as a special human activity is mimesis - a specific and varied imitation.
Imitation of a moral person will form the basis of all creativity of the after-postmodern era.
The purpose of mimesis in the art of the future era of afterpostmodern is to acquire knowledge and excite a sense of pleasure from reproducing, contemplating and cognizing a person's moral deed, observing the rule of "Three Cs" in his behavior and thinking: do not harm yourself, neighbors, the environment, either by thought or by word, not by deed; to create for oneself, neighbors, environment with thought, word, deed.
In postmodern aesthetics, the concept of mimesis merged into the context of the “theory of imitation”, which at different stages in the history of aesthetics and in various schools, directions, trends understood “imitation” (or mimesis) often in very different senses.
These were illusory photographic imitations of the visible forms of material objects and life situations (naturalism, photorealism) through the conventionally generalized expression of typical images, characters, actions of everyday life (realism in its various forms).
It was also a "imitation" of the original ideal principles, ideas, archetypes, inaccessible to direct sensory perception (romanticism, symbolism, avant-garde art, art art).
The mimetic attitude underlies any work of art as a manifestation of the "Three S" rule, which sets the moral, creative vector for the development of human civilization. Mimesis in art preserves the deep archaic anthropic layers of humane, moral attitude of man to man: do not harm each other, and create for each other.
The mimetic attitude to the world is considered as an initial fundamental human quality, a global ecological principle (not to harm a person), which contributed in ancient times to the global orientation and action of a person in the world. Gradually, the global ecological principle was suppressed by the civilization process, the growth of social parasitism, inequality. However, it was preserved directly not only in art, arts, but also in the behavioral practice of people. Society continues to reproduce honest and decent people who are a kind of social immunity to administrative criminal groups, social parasites, and sociopaths.
The discursive-evaluative method , developed back in the years of the USSR, involves a mimetic game, simultaneous disclosure and exposure of a social parasite, the terrible presence of the phenomenon of the moral judgment of society over the improper behavior of specific subjects, a figurative multi-level discussion and ethical assessment of a person's social act.
The essence of mimetic art in after-postmodernity is a rhizomorphic (changeable state of any forms and entities) display, or expression in images.
The art of the afterpostmodern is a figurative expression of the semantic reality of the discursive-evaluative process. Hence the artistic image of an active participant in discursive-evaluative practice (a reborn subject) is the main and most general form of expression in the art of afterpostmodern, or the main way of artistic thinking, of being an afterpostmodern work of art. Mimesis in the art of afterposmodernism is most fully realized with the help of the artistic symbol of the rule "Three S" and in the artistic images of a moral person, creating, affirming moral foundations by his existence.
Moral foundations are an internal conviction of the need to combine private, public and state interests of social subjects.
Conclusion
Thus, the aesthetics of after-postmodern, in our opinion, is aimed at the formation of positive feelings towards a moral, creative person. This will support art, art, music, literature in the creation of such works that will provide imitation (mimesis) and inducement to launch the mechanism of human behavior that ensures no harm to humans, society, and the environment.
Mimesis, or mimesis, is one of the basic principles of aesthetics, which is based on imitating the art of reality.
The artistic image of the afterpostmodern is a moral person, a creative person, who asserts moral principles by his existence.
The artistic symbol of the afterpostmodern is the "Three S" rule:
C1 + C2 + C3
M + S + D
Where:
C1 - not self-harm;
C2 - not causing harm to neighbors (other people);
C3 - not causing harm to the environment;
M - thought;
C - word;
D - deed;
and:
C1 - creation for yourself;
C2 - creation for neighbors (other people);
C3 - creation for the environment;
M - thought;
C - word;
D - business.
The organization of contemporary art based on the aesthetics of the afterpostmodern (using the artistic symbol and image of the afterpostmodern in the creation of works) will ensure the balance of private and public interests, creativity, the balance of freedom and justice.
Sources
The Discursive Ethics of Professor Chigirev VA and the problem of transhumanism
http://www.ast.social/687-the-discursive-ethics-of-professor-chigirev-va-and-the-problem-of-transhumanism.html
The doctrine of non-lethal war is confirmed by the crisis of the planetary ecosystem
http://www.ast.social/686-the-doctrine-of-non-lethal-war-is-confirmed-by-the-crisis-of-the-planetary-ecosystem.html
http://www.ast.social/685-environmental-imperative.html
Prevention of social disasters: Discursive-judgmental Method
http://www.ast.social/684-prevention-of-social-disasters-discursive-judgmental-method.html
Grim Today and a Brighter Tomorrow: Ecosocial Technologies
http://www.ast.social/682-grim-today-and-a-brighter-tomorrow-ecosocial-technologies.html
2020 - The International Year of Eco-behavior and Eco-management
http://www.ast.social/681-2020-the-international-year-of-eco-behavior-and-eco-management.html
GLOBAL SECURITY TECHNOLOGY - A SOCIETY OF CONTINUOUS REFERENDUM
http://www.ast.social/680-global-security-technology-a-society-of-continuous-referendum.html
Author:
Vostrikova Elizaveta Dmitrievna
Institute for Cultural Property and Resources
Ecodesigner Lisa
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