二十一世纪的文明与文化。对话、融合还是对抗?(传播方面)

V. Didenko, R. Timerbaev
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引用次数: 0

摘要

在我们看来,尽管每一种具体的文化历史形式都在 "其 "文明的基因、结构和功能中发挥作用,但艺术始终保持着其相对于文明的精神和创造性 "冗余",其标志恰恰是从相对自主和创造自由的角度描述了文化相对于文明的特征。 在任何一个特定的社会中,文明对生活资料的取向、因注重发展和利用自然生活条件而产生的切身实际利益和价值、外部生活,都因文化,特别是艺术对内部生活的吸引力而得到 "启迪",表现出 "人类精神诉求 "的无限性。 心理现实的各个层面都可以进行艺术反思。在有关这一问题的科学研究中,我们有时会看到对艺术家作品的引用多于实际的科学著作,这显然不是巧合。同样的情况也发生在客观现实以及未知和无限的边界上。知识的可靠性、可验证性和必要的公理化要求,使科学中的假设思想的形成和制度化变得复杂,需要克服现有的范式和相应的经验证实。否则,未知就会在艺术中得到阐释。它在不确定性和不可能性的全部范围内进入艺术。 如果说技术文明建立了与自然宇宙的关系,实现了消费和征服自然、服从人类的原则,似乎是为了人类的利益,那么文化,首先是艺术,培养了我们对自然的态度,这种态度是建立在无私的沉思、敬畏、虔诚的崇拜之上的,是最高级、最完美的创造形式,对人而言,是创造灵感的永恒源泉。与人类文明的人类中心主义不同,艺术的特点是环保主义,渴望与大自然的普遍统一,即泛神论观念。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Civilization and culture in the XXI century. Dialogue, convergence or confrontation? (communication aspect)
. It seems to us that although each of the concrete historical forms of culture functions within "its" civilization, genetically, structurally and functionally, art always retains its spiritual and creative "redundancy" in relation to its civilization, and its signs precisely characterize culture in relation to civilization from the side of its relative autonomy and creativity freedom. The orientation of civilization towards the means of life, the immediate practical interests and values due to its focus on the development, use of natural conditions of life, external life are complemented in any particular society, "enlightened" by the appeal of culture, and especially art to internal life, expressing the boundlessness of the "claims of the human spirit". Layers of psychic reality are available for artistic reflection. And it is no coincidence, apparently, that in scientific research on this issue we sometimes see more references to the works of artists than to the actual scientific works. The same thing happens with objective reality, and on the borders of the unknown, the infinite. The requirement of reliability, verifiability, and the necessary axiomatization of knowledge complicates the formation and institutionalization of a hypothetical idea in science, requires overcoming the existing paradigm and corresponding empirical confirmations. Otherwise, the unknown is explicated in art. It enters into it in the full scope of uncertainty and improbability. If technical civilization builds its relations with the natural universe, realizing the principles of consumption and subjugation of nature, subordination to man, as if for the benefit of man, then culture, and above all art, cultivate our attitude to nature, which is based on disinterested contemplation, reverence, reverent admiration as the highest and most perfect form of creation, which is for a person, an eternal source of creative inspiration. Unlike the anthropocentrism of civilization, art is characterized by environmentalism and the desire for universal unity with nature, its pantheistic perception.
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