Lecture
AESTHETIC TASTE - the ability of a person, by feeling of pleasure or displeasure, to perceive and evaluate various aesthetic objects in a differentiated way, to distinguish the beautiful from the ugly in reality and in art, to distinguish between the aesthetic and the non-aesthetic, to detect features of the tragic and the comic in phenomena. In relation to the evaluation of works of art, aesthetic taste is concretized as artistic taste.
Aesthetic taste is a subjective and individual concept associated with the appreciation and perception of art, beauty and aesthetic qualities. It reflects the preferences, tastes and ideas of each individual. However, some general types of tastes and patterns can be identified that help reveal aesthetic preferences.
Classic Taste: Based on the standards and ideals set by centuries of art and culture. Includes classical forms and styles, balance, harmony, symmetry and proportion.
Romantic Taste: Prefers emotional expression, individuality, and expressiveness. Includes emotional and dramatic aspects of art.
Minimalist Taste: Prefers simplicity, cleanliness and minimalism in forms and elements of art. Appreciates space, light, simple lines and geometric shapes.
Abstract Taste: Interested in abstract forms and symbols, as well as experimenting with color, texture, and composition. Appreciates unusual and non-standard ideas and concepts.
Contemporary taste: Focuses on contemporary trends and innovation in art. Appreciates avant-garde and experimental approaches, new materials and technologies.
The concept of aesthetic taste was formed in European culture in a relatively late historical period on the basis of the individualization of spiritual experience and became a condition for the diversity of the content of spiritual values. Aesthetic taste is defined as a person's ability, depending on the feeling of satisfaction or dissatisfaction, to perceive and evaluate the degree of aesthetic completeness of the objective world and spiritual phenomena. Aesthetic taste objectifies itself in value judgments, as well as in all types of formative activities, ranging from everyday manifestations of style in clothing, in lifestyle, in relation to public, in particular artistic values, etc. The classical definition of aesthetic taste contains the work of I Kant. Anthropology in a pragmatic sense The philosopher writes: Taste is the possibility of the aesthetic ability of the judgment to make a choice, it has universal significance. As the philosopher notes, it is said that our judgments correspond to the objective qualities of the subject of judgment, which is the key to their universality. The objective judgment of taste is confirmed by the presence of a developed aesthetic experience of relation to the world. On this basis, the German philosopher and Sulzer puts a developed taste along with such intellectual abilities as rational knowledge and moral attitude: Taste is nothing more than the ability to feel beauty, just like reason - this is the ability to know the true, perfect, true, and the moral sense is the ability to feel good.
The problem of taste has been put forward in aesthetic theory to one of the leading places since the Renaissance, as a reflection of the phenomenon of individualization of the spiritual experience of the individual. In artistic formation, it moves away from the canons, and in aesthetic assessments it begins to deviate from established ideas about the meaning of perfection. Pushing the boundaries of what has been established in aesthetic experience, the bearers of taste affirm new boundaries of phenomena or offer a new vision of them. So, medieval ideas about bodily beauty as sinful are changed by the affirmation of bodily beauty, a hymn of harmony of bodily and spiritual principles is sung in people. Interesting thoughts about the essence of taste can be found in treatises of prominent figures of the era: L Valla, M Ficino, Pico de la Miran-Dola, Leonardo da Vinci.
In the 17th century, the concept of taste began to be used in a categorical sense, in particular, thanks to the works of the Spanish philosopher Gracian y Morales (Hero, Clever, etc.). Let us recall that the philosophers of the 17th - 18th centuries in France pay great attention to the development of the theory of taste (Battier, La Rochefoucauld, Tremblay, Rousseau, Helvetius, Voltaire), in England (Shaftesbury, Hutcheson, Burke, Hume, Mandeville), in Germany (Winckelmann, Lessing, Herder, Sulzer, Kant, Schiller) whether she is irrational, based on the mind or feelings, taste is acquired in the upbringing of beauty by the ability of La Rochefoucauld raises the question of the individual certainty of taste (Treatise Maxima) Voltaire in his work. Taste characterizes this phenomenon as a sensual response to good and bad, based on the ability of the intellect to distinguish the objective qualities of the objective world. Voltaire singles out such a modification of aesthetic taste as artistic taste.
pour sensitivity to the beautiful and the ugly in the arts, depending on this ability, he divides tastes into good, bad and distorted. Distorted taste in art, writes Voltaire, is expressed in love for subjects that revolt the educated mind, preference for burlesque over noble, pretentious and prim over the beauty of simple and natural, this is a disease of the spirit (italics cars - V M). Such a characteristic sounds very relevant even now, in the conditions of the subordination of artistic culture to the requirements of the market. The spread of bad taste is harmful to the general spiritual development of individuals.
Voltaire notes that artistic taste is the result of a long and careful upbringing. A person must slowly learn to listen and peer into the natural world and master values. Habit and reflection make her able to suddenly enjoy, distinguishing previously inaccessible to her The philosopher highlights the phenomenon of individualization of taste not only at the level of the individual, but also at the level of the nation as a whole: Taste is slowly nurtured by the nation, because it slowly perceives the spirit of its best artists.
Voltaire also gives an interpretation of one of the topical problems of the theory of taste: can one argue about tastes? tastes do not argue when it comes to preferences associated with bodily pleasures: what is pleasant to one person may be unpleasant to another. However, this does not apply to art. Since there is real beauty in art, there is a good taste that distinguishes it, and a bad taste that does not perceive it, and the flaws of the mind - the source of spoiled taste - are subject to correction. Let us single out several points in the expressed thought that are relevant for the theory of aesthetics and the practice of aesthetic education. First, the source of the formation of a developed taste is beauty. Art is an objective source of beauty, which means that it is an active factor in the formation of a developed taste. Secondly, beauty, which objectively exists in perfect works of art, requires the development of sensory-intellectual structures in order to reveal in its qualities the subject of the object. Thirdly, penetration into the world of beauty is possible only under the condition of coordinated interactions of the spiritual structures of the subject: the ability of sensory perception and the activity of the mind, reveals the qualities of the object of indifference. This is the conformity of the subject to the idea of expedient (internal vitality) and the perfection of its detection in the work as a spiritual whole.
Aesthetic theory differentiates the level of tastes Thus, Helvetius (Treatise On the Mind) divides them into two types: habitual taste and conscious taste. This, according to the current classification, respectively, taste is limited and developed. For the theory of taste and the practice of educating a developed taste, considerations are important. Helvetia on the difference between these two levels of taste The philosopher sees it as a difference in the idea of the essence of beauty, despite the fact that both types are based on aesthetic experience. The first - taste, habits - is distinguished by some skill-made assessment of phenomena. The judgment of taste of connoisseurs of this kind is characterized by the fact that they consider only that which is already accepted in their experience as valuable. They do not have taste as soon as they do not become objects for comparison, writes Helvetius. The second type - known - is based on a deep knowledge of the subject of evaluation and spiritual experience produced by culture. Its bearers are able to appreciate new artistic phenomena and their assessment will be objective. The formation of this type of taste is achieved by a long study of works of art and scientific ideas, reveals the knowledge of a truly beautiful beauty.
The educational function in the formation of the developed tastes of the society of the XVIII-XIX centuries. carried out literary and artistic criticism, which at that time was a special kind of aesthetic activity. She played a big positive role in the formation of European culture (including Eastern European) by awakening interest in the highest, most aesthetically perfect treasures of national and world culture, in such samples and producing criteria for aesthetic perception and judgment of taste in their aesthetic analysis. Unfortunately, in postmodern culture this tradition has been lost, and therefore the public taste is spoiled.
The aesthetics of English sensationalism explores the complex structure of aesthetic taste. According to E Burke, taste is formed by the primary pleasures of the senses from the perception of phenomena, the secondary sweetness of the imagination and the conclusions of the mind about the various relationships between them, as well as about human passions, mores and actions. So, taste is not the identification of direct sensuality as such , not the realm of the irrational, but also not a purely conceptual realm. Taste is the organic interplay of the enjoyment of the senses, the enjoyment of the imagination, and the inferences of the mind. It is also noted that the named interaction of intellectual and sensual structures is common to any kind of aesthetic attitude, and tastes can be constantly improved due to the expansion of the experience of cognition.
ania, deepening as a subject and constant exercises in aesthetic knowledge. Let us pay attention to the inclusiveness of the phenomenon as it is revealed by the philosopher. Taste is considered as an intellectual ability and as a consequence of the conscious choice of objects and the creation of an individualized attitude towards them. nose th Universal valuable in their content. The latter is important in the construction of a scientific theory of aesthetic education and self-education of the individual. Classical aesthetic theory sees a person as an active subject of aesthetic attitude, eliminates the idea of relativism from the process of aesthetic education, both in terms of the content of values and educational goals.
Let us return to German classical aesthetics, focusing on the theory of taste in the aesthetics of And Kant, developed in the works: Observations on the sense of the beautiful and sublime (1764), Critique of the faculty of judgment "(1790), Anthropology in a pragmatic relation (1798) In developing a theory of taste And Kant largely relied on the ideas of E Burke, D Hume and other English sensationalist philosophers. In the works of Kant, a substantiation of the a priori nature of taste is given, the idea of the universality of judgments of taste is affirmed, and four main aspects of taste associated with the play of cognitive abilities are considered. The first moment contains the idea of disinterest judgment of taste. It proves that taste is associated with aesthetic pleasure, due to the qualities of the object of indifference. The second and fourth moments of y confirm the beautiful as such that in the judgment of taste it is known without a concept, since it is the subject of the necessary pleasure is, the basis of taste is the feeling of beauty , give great spiritual pleasure in the perfection of forms of cognition, based on pleasure, is carried out imperceptibly: cognitive abilities seem to play, but do not work. The third aspect of the judgment of taste affirms its inherent value - expediency without purpose, since the object of the aesthetic judgment of taste arises as a goal for the senses due to purposeful and perfect inner vitality. A work of art, taking into account its internal expediency, And Kant compares with nature in its inherent expediency of forms, while realizing the difference between them, the Philosopher notes such an internal perfection of a work of art, when it acts as a spiritually-forming principle, collects human spiritual structures into integrity, combining in taste coherence of intellect and feelings. The philosopher interprets taste as the ability to evaluate (natural phenomena, artistic phenomena), which even allows feelings to be conveyed to anyone else. In other words: the artistic persuasiveness of a work is able to awaken and form feelings and intellect, prompting an aesthetic judgment of taste that is adequate to the qualities of the work.
Normative concept:
• Taste standards should be established by the state and be common to all.
• Deviation from the norm - bad taste
• Taste is a property of the mind
Positive aspects of the concept Negative aspects of the concept
They do not share emotional and rational (reasonable) knowledge of the world. Depriving a person of individuality.
Possibility of uniting people on the basis of a single aesthetic vision of the world Possibility of dictate of officials to art
Subjectivist concept:
• Taste is individual.
The tastes can't even be compared.
Positive aspects of the concept Negative aspects of the concept
Taste is individual. Tastes cannot even be compared Upholding the right to originality It is not taken into account that the world exists objectively. You cannot judge objects as beautiful or ugly for everyone
Moral concept:
Taste is individual, but subordinate to the “general feeling”.
Taste is individual, but subordinate to the “general feeling”.
The upper classes, by virtue of education, conform taste to the ideal.
Positive aspects of the concept Negative aspects of the concept
Overcoming the shortcomings of previous concepts Class character, taste belongs to the upper classes
Social-individualistic or dialectical concept:
• Taste is a combination of feeling (individual), judgment (general) and imagination (general and individual).
• Taste is an expression of both general and individual
• Aesthetic taste is a socio-historical phenomenon.
It can be developed and educated
AESTHETIC TASTE
A good person enjoys the beautiful, has a need to experience and create
A person enjoys the beautiful, has a need to experience and create beauty, emotionally rejects the ugly. A person likes objects closest to the ideal, he strives to create and perceive them.
A bad person perceives beauty with indifference or disgust and takes pleasure in ugliness.
vogo. Enjoys kitsch. A person likes objects that are farthest from ideal.
AESTHETIC IDEAL
• The idea of higher harmony and perfection
• An example of the proper and desired aesthetic, that is, non-utilitarian value.
• The purpose and criterion of human activity to transform the world.
• Embodied in nature and works of art
An important problem in judgments of aesthetic taste And Kant sees the dialectic of the individual and everything in common. If an individual judgment contains the principle of universality, then this principle must be inherent in the aesthetic feeling itself. The feeling of satisfaction is due to universal expediency, subjectively defined as an a priori principle of consciousness, and objectively it as a pure form, the object a The path to the entry of consciousness into the experience of the universal And Kant substantiates, putting forward the concept of three maxims of everyday consciousness. They can help explain the critique of taste, namely: 1) to have their own sous research; 2) mentally put yourself in the place of each other, 3) always think in agreement with yourself.
Clarifying the concepts, the philosopher argues that the first of them means the maxim of a way of thinking free from prejudices, the second - a wide way, i.e. the ability in one's own way of judging to get out of a universal point of view (which can only be found by sharing the views of others) the third maxim of a consistent way of thinking - is achieved only through a combination of the first and second and such an interaction of them turning into a skill. This maxim is more difficult to achieve Three named maxims, according to I Kant, covering all spheres of the intellect, since the first of them is the maxim of the mind, the second is the ability of judgment, the third is the mind, their dialectical connection is built as follows: imagination in its freedom awakens the activity of the mind, which, without the mediation of concepts, provides correctness to the game of the imagination: the presented is communicated to others, not as a thought, but as an inner feeling of an expedient state of mind (emphasis added - V M) They communicate feelings and judgments of taste, and Kant considers it as a need due to the nature of a person - a creature assigned to live in society, and therefore feel the need for communication.
In the aesthetics of Kant, the idea is consistently traced of the practically disinterested nature of the aesthetic judgment of taste; the interested judgment of taste is based, as on its premise, on an interest in morally good and on the makings of a morally good way of thinking. Judgment of taste in relation to nature and art is a way of representing expedient without a goal, after all, it is necessary to create a culture of the abilities of the soul for communication between people. Universal pleasure provides that this pleasure of enjoyment, based not only on feeling, but is the pleasure of reflection, i.e. associated with the reflective ability of judgment.
The history of the formation of the theory of taste is analyzed, which testifies to its connection with the truth, discovered by science, the ability to adequately perceive sensual outpourings of perfection in natural phenomena and artistic phenomena, the ability to reflect on the perceived phenomena and one's own experience of their qualities, and finally, the ability to convey in the judgment of taste one's feelings caused by the object. the qualitative certainty of judgments of taste, developed by aesthetic theory, is its truth (desired pattern, ideal model). In the practice of value judgments, it manifests itself as a developed or aesthetic taste. Its bearer is personal with a rich spiritual experience, capable not only of objective judgments about values, but also of their creation, it has a sense of proportion in self-expression, the presence of a criterion in aesthetic judgments and in relation to the world (attitude to other people, to moral and artistic values of society and humanity, etc.) her experiences of phenomena and judgments about them are characterized by individual uniqueness in accordance with the universality of the content of judgments (evidence of the possession of the truth about a thing).
Along with a developed taste, modern aesthetic theory singles out a bad, or corrupted (distorted) type of tastes. The carriers of such a taste enjoy the contemplation of ugly phenomena and are indifferent to beauty. , as pseudo-values are asserted, is of an aggressive nature, which corresponds to the very subject of the assertion. The danger of such content of value ideas and value judgments that they are capable of spoiling public tastes, spreading interest in the ugly and immoral under the slogans of fashionable, original ".
As for quantitative characteristics, along with the developed one, an undeveloped (narrow) taste is rightfully distinguished. Its carriers are people of a low level of culture, limited experience in communicating with artistic values. They do not have a criterion of good and bad, beautiful
What distinguishes them from the first and the ugliest is the non-argumentation of assessments, helplessness in judgments about the quality of the object. They are not able to explain to themselves why and what attracted them to this or that subject of judgment; their assessments do not include the general content of value ideas. These judgments are based on empirical experience, therefore they are arbitrary. It is worth noting that for communication they choose what is understandable for themselves and so pleasant, and therefore they are in a circle of limited experience. Standard items level out tastes, cause monotony in judgments about their quality.
It should be noted that an undeveloped taste can be educated and, under the condition of systematic communication with aesthetic values and carriers of a developed taste, it can deepen and improve. that, on an intuitive level, they are able to grasp aesthetically expressive phenomena more accurately than adults, although they are not able to evaluate their choice and determine the criteria for evaluation.
Let's focus on the social value of a developed aesthetic taste, taking into account its formative possibilities both in relation to the person and in relation to society as a certain spiritual whole. Usually, the content level of taste in is determined by the spirit of the times. people (it is legitimate to talk about the tastes of an era, a nation, a class, etc.) And Kant argues that good taste manifests itself only in a period of healthy, and not just refined taste. Developed taste universalizes feelings, directing them to understanding the universal in spiritual experience, and at the same time individualizes them. Individualized manifestation of taste is valuable in that it demonstrates the nuances of the qualities of the object of indifference and allows you to convey to others the feeling experienced by the person. Therefore, grounds are created for co-creation in evaluative-experiencing interactions. Therefore, aesthetic taste serves as an effective means of spiritual unification of people.
It should be noted that only a good, developed taste, based on a rich experience of communicating with aesthetic values, performs a spiritually-forming function. The richness of its value content and the perfection of the artistic way of its existence determine the effectiveness of formative possibilities in the sphere of the spirit. Once again, let us pay attention to the opinion of And Kant, good taste highlights what corresponds to the concept of a thing, and the meaning of choice is the ability to choose what everyone likes, i.e. feelings to make a choice that would be public. Let us also pay attention to the fact that the subject of feelings and value judgments of taste is not an object as such (material reality), but its spiritual value meaning. The deeper the subject of evaluative activity penetrates as an object, experiencing the judgment, the more complete and deep will be the judgment of taste, and the experience unfolds in the judgment as individually unique, creative in nature. long time.
Patterns of aesthetic taste can vary depending on individual preferences, education, cultural context and experience. They can be formed through teaching, research and exposure to different art forms. The development of aesthetic taste requires open exploration, experimentation and critical thinking.
Comments
To leave a comment
Aesthetics
Terms: Aesthetics