作为垂直美学基础的艾迪等级制度

A. Pankratova
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引用次数: 0

摘要

本研究的对象是垂直导向范式中的视觉文化组织。研究的主题是在垂直导向范式中作为视觉环境组织基础的 "意念层次"。本研究的目的是阐释作为垂直导向范式中审美表征基础的 "意念层次"。在现代主义的影响下,现代文化已经形成了全面的审美相对主义。如今,艺术中的一切都可以被接受,因此艺术家和设计师们正被神经网络主动逼出这个行业。神经网络是横向文化的产物,在这种文化中,任何物品都被认为具有同等价值,因为没有对超物品的诉求。因此,今天我们有必要将研究重点转向与之相反的文化组织--垂直导向的、承认超越现实的文化。这样的文化应该有明确的艺术标准,由艾迪等级制度决定。在区分垂直导向范式时,作者借鉴了 A. G. Dugin 的观点。作者的主要方法是符号学分析,通过这种方法可以看到文化中的超验符号。此外,作者还借鉴了柏拉图关于 "存在 "的 "依存等级 "的学说。研究的主要结论是,在垂直导向的范式中,存在着明确的审美等级,而当今的文化由于其水平导向而不存在这种等级。垂直取向的范式与存在的 "伊德等级 "思想有关。发展了几个世纪的经典一直是描绘事物(不是现象,而是本体)的伊迪形式的工具。重新定位超物的存在,可以成为保护艺术家职业和艺术本身免受美学相对主义影响的契机。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Eidic hierarchy as the basis of vertically oriented aesthetics
The object of this research is the organization of visual culture in a vertically oriented paradigm. The subject of the study is the eidetic hierarchy as the basis for the organization of the visual environment in a vertically oriented paradigm. The purpose of this study is to explicate the eidic hierarchy as the basis of aesthetic representations in a vertically oriented paradigm. Modern culture has come to full aesthetic relativism under the influence of modernism. Today, everything is acceptable in art, so artists and designers are actively being forced out of the profession by neural networks. Neural networks are the product of a horizontally oriented culture in which any objects are recognized as equally valuable, since there is no appeal to the super-object. Therefore, today it becomes relevant to shift the focus of research attention to the opposite organization of culture – vertically oriented, recognizing transcendent reality. Such a culture should have clear criteria of art, determined by the eidic hierarchy. In distinguishing the vertically oriented paradigm, the author relies on A. G. Dugin. The author's main method is semiotic analysis, which makes it possible to see the transcendent signified in culture. The author also relies on Plato's teaching about the eidetic hierarchy of being. The main conclusion of the study is that in the vertical oriented paradigm there is a clear aesthetic hierarchy, which is absent in culture today due to its horizontal orientation. The vertically oriented paradigm is associated with the idea of the eidic hierarchy of being. The canon, which has been developing for centuries, has been a tool for depicting the eidic forms of things, not phenomena, but noumens. Reorientation to the presence of a super-object can be an opportunity to preserve the profession of an artist and art itself from aesthetic relativism.
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