10 3 Aesthetic feelings: the genesis, patterns of detection

So, we found out that aesthetic consciousness has a formative ability and at the same time appears as a consequence of the formation of spiritual experience of a person’s indifferent attitude to the world as a certain integrity. The interaction of perceived understanding, imagination, memory, feelings, reason is such that they are a holistic spiritual structure, where aesthetic feeling Aesthetic feeling is a person’s direct emotional experience of the ability to relate to expressive expressions of reality and akrepleniya this ability in a variety of aesthetic activity should be noted that being in the indifferent attitude to the world of the senses - a psychic reality; Being in comprehending the experience as a spiritual phenomenon is the aesthetic reality of Feeling as a subject of research is relevant, firstly, given its ability to reflect the world by its attitude to Him, secondly, by its ability to organize spiritual structures in integrity, thirdly, to influence high-quality results of spiritual and creative search.

At the root of aesthetic feelings is the activity of objectification, i.e. ability to form a relation to the world The aesthetic ability to transform emotions into each other is associated with the category of objectification. These are the "proactive" images through which a person sees the objects of his aesthetic need as the goal of activity. The key to this ability is imaginative thinking. It is organized by the world that is defined as subject of formative interest This is an ideal or real objectivity, appears as \ "material \" of formative ability and at the same time an active organizing principle there is consciousness, consciousness is valid precisely in the formation - the provision of sensually tangible ways of being to phenomena through the formation of their image. In fact, this is a substantively defined image of the indifference of the values ​​of the image of non-choice.

The feeling of getting aesthetic certainty of quality, objectifying themselves in the qualities of the subject of formation time in the formation and thanks to him they get material for their nourishment. The wealth of feelings is formed by their interaction with the qualities of the subject of non-indifference. Due to the feeling a person objectifies himself, makes his own uniqueness true. culture as a kind of compiler of the world: the creation of its coordinated image in spiritual interactions, perfecting the human experience of L Feuerbach, comprehending the aesthetic feeling in his spiritually-forming capabilities, asserts: \ "The Object of Mind is an objectified mind, the object of feeling is an objectified feeling. If you don’t understand and feel music, then the best piece of music will make the same impression on you as wind noise you hear directly referring to the feeling and is understandable only to the feeling, that is, to yourself, because the object of feeling is only feeling \ "[15, 2, p 38uot; [15, t. 2, p. 38].

Aesthetic feelings - the complex spiritual structure of its content form, on the one hand, the objective qualities of the subject of indifference, and on the other - the memory of the emotional states caused by the object. Memory feels and the formative ability of the intellect preserve the whole image of the subject, even if it is not actually involved in the process. relations \ "here \" and \ "now \" It is enough for some remote association to awaken the senses and make the imagination and memory form an object of indifference So, mention of a sweet, dear person and instantly turns on the \ "mechanism \" of memory, imagination, emotions on the reproduction of his image. The latter means not only physical characteristics, but the style of behavior, character traits, manner of communication, specificity of judgments about the world, etc. That is, the image appears to be an integrity, full of inner vitality, the equal inner life.

The role of feelings in the structure of aesthetic consciousness is determined by the fact that they activate the process of human interaction with the world, choosing from it objects of indifference and concentrating other spiritual abilities and on identifying the qualities of an object for "feeding" them. Experience of perception of objects and experience of reflection on them every time The following perceptions are deepened by the Mind \ "explains \" the sense of the reason for their indifference and to the object. Spinoza successfully identified the place of aesthetic feeling in the spiritual experience of mankind: \ "Clear knowledge we call which does not arise from rational conviction, but feelings and pleasures are the most important, and this knowledge is much superior to the others ”. [14, p 72] General laws of the intellectual-formative relationship also operate, since, according to Hegel, what is characteristic of knowing the spirit in, it is characteristic also for those who experience the spirit, and it is characteristic for the surviving spirit.

Reality, formed by the spirit, defined by him in each of his discoveries. Our consciousness and our senses form an object. The nature of feelings is social and at the same time aesthetic - individualized. We form muemo nature not only in the subject-practical activity, but also in an indifferent attitude to it (including in their own nature) The value dimension of spiritual experience, which is manifested in the above process, determined by its spiritual and formative capabilities. In science, the exchange of ideas is typical as a way of development and perfection intellect in the aesthetic-artistic formation - the exchange of feelings This is the way of their objectification and the search for the natural in them Regular in revealing the human relationship to the world in forms, objectifies and produces such an experience as perfect, a source of the spiritual development of mankind, society, personality. feelings It feeds on images (forms) of reality in their rational vitality within themselves and in adequate responses to them reflects the formation of spiritual structures of human beings ka: their organization by the perfection of forms of reality. The process should interconnect nature: a person forms the world, enclosing it in images, and those, in turn, form consciousness and feelings, organizing them, organizing an aesthetic world view.

It is important to emphasize that not only harmonious objects arise as a forming object for the senses. They manifest their capabilities in presenting the image to spontaneous, disharmonious objects. Experiencing their disharmony iinist, time is repulsive, aesthetic feelings maintain distance from them, are not susceptible to the destructive effect of disharmony, time is fixed in feelings inside it doesn’t take the image of the disgusting Yav, it’s experienced to communicate with disharmonious, ugly it creates a cleaning effect (catharsis) in order to avoid creating situations of relationships that even remotely resembled the ugly. By the senses, they strive not only to avoid communicating with the ugly, but also to retain his image as a warning, so as not to produce it in any way. Therefore, aesthetic experience is an exchange of experience of the senses and \ "name \" emotional and intellectual personality structures to actively interact with them on harmonious principles. But in reality is the subject of feelings? aesthetic feelings is that the humanized reality is primary for them, formed into expressive, sensual images, and appear to be genuine reality for consciousness, we experience not the objectivity of the world as such, but its image formed by culture, and such that in its qualities a certain culture (Everyone knows from experience that the object we encounter for the first time and whose image we did not have in experience is called by us, depending on the manifestations, either fear or interest. Aesthetic experience of the camps It is possible only as a result of the knowledge of its qualities and their relationship to us. That which scares, eliminates the freedom of creative interaction by fashion, and therefore prevents the creation of an aesthetic relationship of political relationship).

Reality objectified in images is the unity of the qualities of objects and the experience of an indifferent attitude towards them. Therefore, aesthetic feelings combine the meaning of reality, and this is nothing more than the personification of the spiritual experience of humanity, and the experience of personal interactions that can increment this content. , thanks to culture, the objective world appears as a symbolic reality. The feeling is organized precisely because it was historically formed by feeding on archetypical images-symbols, which e arose as a subject of universal indifference. The deepening of the experience of feelings is associated in the history of culture with the release of the symbolism of the world in specific communities to the level of universalization of symbols, i.e. universal (universal) in the experience of reaction [18, pp. 295-296—296].

What has been said about the formative abilities of aesthetic feelings makes it necessary to explain the process of its formation, or otherwise: a qualitative transition from the emotional response to the world to its aesthetic experience. The output degree of sensory response is purely emotional (Psychology includes all kinds of human experiences in the concept of "emotion") The aesthetic analysis of the problem gives grounds for concluding that the whole variety of spiritual experience of a person’s attitude to the world consists in the “junction” purely emotional. and emotional-intellectual response. Emotions are the \ "pre-form of thinking \" that performs the simplest and most vital functions. Emotions are based primarily on unconditionally-reflex brain activity. Aesthetic feelings, as we noted above, are the product of the evolution of human intellectual structures into objects. -forming acted upon. They translate the process of reacting to light into a vast wealth of nuances that are aimed at satisfying the needs of the intellect, and not the needs of the organism there, to to the subject and why it is so, why is it fo RMI is such as it manifests itself in different situations, etc. Recall that D. Hume, considering the nature of human sensuality, considered immediate impressions of external experience in (sensations) as primary, sensual images of memory (ideas) and impressions of internal experience (affects, desires, passions) secondary. He explains the conditionality of our states (affects ) the unity of sensual impressions and ideas about things [17, p. 428]. So, the feeling in this case works on intellectual structures, satisfying their formative need inherent in the idea of ​​dotsilno form the need for w іd єyu dotsіlnogo.

Historically, the formation of a formative attitude to the world translated relations with it into the sphere of reacting to it as \ "matter \" implementing formative skills. The latter determined other channels of communication of emotions with the activity of brain structures and another type of these connections: what is interesting as "material" of creating his image. Such an approach predetermines the anticipatory character of the sensory-figurative formation of self in comparison with the practical formation of conformity. The intellectualization of the brain is actively accelerated. new structures and the emotional sphere involved in this process. The totality of their activities appears to be a spiritual phenomenon. The need for pleasure also leads to the improvement of the organs of perception (sight, hearing). Marx describes this process as follows: \ "The eye has become the human eye, how his object became with in a joint human object created by man for man Therefore, theorists directly appeared in their practice theorists Only thanks to the objectively developed god The development of a human being develops, and partly and for the first time, a variety of subjective human sensuality appears: the musical ear, the eye, feels the beauty of forms. "[11, 112, 113] According to, perceiving and shaping healthiness of the senses and intellect are improved (colors, proportional relationships, sounds, memory, imagination, fantasy, etc. mutuality, sounds, memory, fake, fantasy skin).

About the value of feelings in the development of knowledge and skills it is important to emphasize that they became the basis for logical generalizations and reflection on the inherent human experiencing ability. The engine was not only the need for knowledge as such, but also the need for feelings to organize the qualities given to the phenomena. importance was the creation of universal objects survived throughout the long history of mankind, the domination of feelings over the intellect but not only the indifference given to objects by sensually foreseeable expressiveness of forms, but also by mutual sounding in avlennya to them (the kinship response to the subject claimed experiences as the formative force of the world) K Jung characterizes him as a phenomenon of \ "the collective unconscious \" and considers it \ "source \ "a stage in the roll of the individual ability of the senses to reveal their unique wealth. At the same time, the individualization of feelings was based on the constancy of the psyche's response to archetypal images as if it were lke ovrazi yak on their peredumovu.

The general tendency of the life of the senses is their constant need to have "their own" object (s) in order to feed and be inspired by them, to be a source of nourishment of consciousness and an incentive for activating the intellectual structure of mental structures to create new images of non-indifference. with the cognitive ability of the human soul and the ability of desire, highlights the feeling of pleasure and non-repetition, a priori principles for which are contained in the ability of judgment according to the aesthetic judgment divides into aesthetic judgment feelings and aesthetic judgment of reflection, their attitude is due, on the one hand, to direct sensory perception of the expediency of the object of non-indifference, which as such leads to aesthetic judgment of feeling. On the other hand, the conformity of the subject to a certain idea leads to aesthetic judgment of reflection [9, p 975сії [9, p. 975].

The general laws of the formation of aesthetic feelings as a purely human creatively forming ability in the pedagogical sense are relevant in several aspects. First, feelings, like any creative person's ability, are a consequence of the process of spiritual self-development. It is important to know this regularity: first, our experience It has a general (typical) character. It is formed in line with the experience in the environment. And only then, with the spiritual development of the personality, it is individualized (Vygotsky) It is also important to take into account the levels aesthetic response Primary its unconscious manifestations are responses to expressive and vivid forms and color combinations (ability inherent in early childhood). Conscious level is a meaningful (such, analyzing oneself) not indifferently experiencing the qualities that precede one’s experience, that is, , how much the feeling adequately respond to the volume of the object.

Secondly, it is important to understand that the quality of the senses - the level of their aesthetic perfection - is determined by the subject, excites them and leads, not without reason, to respond. The subject field of creation of aesthetically boards died of feelings is perfect spiritual phenomena - world and national artistic culture in its best achievements and creation of aesthetic experience communicating with them. Having only developed aesthetic criteria for evaluating phenomena, a person is able to consciously determine his relationship with reality, including the extent to which they are tical value (in particular, artistic phenomena is the subject of purely spiritual communication) the ability to reflect on natural phenomena and their attitude towards them is the way of consciously selecting values ​​for spiritual communication and raising experience to the desired level of its perfection. It is important that critical attitude is taken of additional pre-cultural phenomena, and, therefore, pushing them out of their own spiritual space. If we keep in mind the persistence characteristic of the postmodern culture in trying to master and rum person to make it consciousness is manipulated, it becomes evident the importance of the formation of aesthetic feelings and reflections on the subject of their It is not only a way of improving certain Lich employment, but also the premise of creating a public life on aesthetic nachaloasadah.

Thirdly, at the level of interpersonal relations, possession of an aesthetic measure of communication can ensure the beauty of relationships, i.e.to harmonize spiritual structures of personality, giving rise to a feeling of fullness of life as a condition to feel happy Creating a culture of relationships based on a culture of feelings and fixed in their experience, not only in a rationally weighted experience of communication is one of the actual guidelines for creating aesthetic experience of relationships in the pedagogical process .

В-четвертых, в педагогическом процессе важно исходить из понимания того, что эстетическое сознание занимает творческий подход к любому виду деятельности, а эстетические чувства возникают питательным источником м творчества Отсутствие (несформированность) способности видеть явления интересными для чувств и ума, неспособность оказывать им совершенного образного образа жизни в различных видах формирующей деятельности раб ить жизни человека неинтересным Она чувствует себя не укоренившейся в нем, считает свою жизнь случайным, ведь в нем не присутствует его личность или присутствует как деструктивная, разрушительная Важно также осознать что возможности развертывания духовного опыта на эстетических принципах и совершенствование эстетических чувств благодаря богатству накопленного культурой опыта безграничные В творческом взаимодействии, что обнаруживает его богатство и дополняет образ, культурные смыслы каждый раз углубляются и вращаются новыми гранями В этом - ценность опыта каждой личности, а следовательно, и необходимость активного присутствия ее в бытиибутті.