9 5 Heuristic potential of aesthetic

The universality of spiritual experience embedded in symbolically-shaped forms, the wealth of which is due to the wealth of experience types, is a consequence of the formative power of mind and feelings. The adequacy of the appearance of the image in the world in its vital fullness is evidence that the spiritual structures of man are a consequence of their conscious self-organization, and the image peace in its inherent laws-a consequence of the historically established ability of the senses and the mind to move behind the phenomena, as required by the logic of the phenomena themselves manifestations."

A prerequisite for cognitive-forming ability (we said this earlier) is the aesthetic attitude. It feeds the subject's interest in creating a holistic image of the subject of indifference and at the same time arises a condition for the development of cognitive ability. Interest in the role of the sensory principle in cognition was actualized in science under the influence of ideas and Kant reason and reason, processes and brings the material of contemplation under the highest unity of thinking.B. Cassirer in the work The Philosophy of Symbolic Forms considers fun tion knowledge of the design and construction of the object is not absolute, but conditioned this Functions, ie a manifested subject It shows the formation of the theoretical image of the world as a process of interpenetration of the main forms of knowledge: sensory sensation and pure contemplation, categories of pure reason and ideas of pure reason. Philosopher’s opinion about the рист sensual sensation - one of the fundamental components of the cognitive process and warehouses in the formation of a holistic image of the object of knowledge. The active role of the sensory beginning in the cognitive process (various you are problems) is revealed in the works of E. Cassirer, D Dewey, A Whitehead, S Langer, M Mamar Dashvili, W Bybler, V Petrushenko and others. Objectification of the subject of indifference - the phenomenon of symbolization - is a means of building the human world , or the spiritual world being of man. The ways of symbolization and the type and images depend on the subject and methods of knowledge ї and types and are found fallow from the subject and method of drawing.

At the origins of the ability to form images-symbols, as shown by studies of the mythological consciousness, there is an aesthetic fantasy E. Cassirer calls it the generative beginning of mythological consciousness. Obviously, consciousness as a whole, taking into account that myth is historically the first form of creating an integral, sensually given image of the world. The validity of such a reasoning about the role of the sensual beginning confirms the opinion of the philosopher: "The myth is not a reflection of this existing being, but a special typical way of building an image According to him, consciousness goes beyond the ordinary perception of sensual impressions and resists to confront it. .Thus, the myth is not so much a reaction to external impressions, but rather a creative“ transformation and image more creatively “transforming that image”.

The activity of consciousness in this case manifests itself precisely as the creation of a new ideal world - its image with the help of symbolic forms that are the product of creative imagination. The activity of consciousness has a self-valuable form here, because the external world subordinates it, the spirit opposes its own independent world of images , the power of impressions (contrasts - In M) - an active striving for expression Note imto: the spirit creates an ideal world not just as parallel to the real, but as a reality for itself, for its own vitality Naya, or imperfect, unstable situation of the manifestation of consciousness is that the moment of things and the moment of meaning can go one into another But this is the very beginning, while the undifferentiated connection between idea and reality, a connection in which consciousness has not yet differentiated as reality I myself, for myself, are not yet aware of myself so much I do not understand myself so.

In art, a prerequisite of which is a mythological relation to the world, at the initial stages of formation also there is an indivisibility of the ideal and the real. The activity of the artist initially lies in a circle of magical ideas and is aimed at magical goals, the aesthetic itself still does not realize itself with due fullness. the formation of an ideal image, even if it was intended for magical purposes, valuable as a stage of the movement of consciousness for finding oneself. In creating the world of images, declares itself the principle according to which the world of images, contrasted with the spirit of the world of things, for the first time acquires immanent knowledge and truth [9, p. 37] Differentiation of reality and its ideal image is a stage, a step towards truth, that is, the creation of an ideal world - before rooting the spirit itself in their works, and, consequently, to the Samus self-notification through the ideal world created by it - the world of symbolic meanings. Their spirit is aware of its own reality - itself as a creative forming force that forms force.

The aesthetic principle that exists in the mythological consciousness and is most adequately implemented in art does not lose itself in other forms of consciousness, allowing you to track further stages of communication of the sensory and logical in cognitive activity. We note: the concept of stages should be understood in two aspects. First as a sequence of development of the ability to idealize This ability is displayed in the form of the formation of new forms of the ideal at each qualitative level of development of consciousness: mythological consciousness, artistic and esthete cheskaya and mature - scientific Secondly, that these forms (each of them) retain themselves (to a greater or lesser extent) in the system of other forms, being active agents of the formation of the image of reality. Thus, the mythological consciousness is present in empirical knowledge. Aesthetic being already present in the mythological consciousness, it realizes itself in art and at the same time plays an important role in logical knowledge. We concentrate on the latter aspect somewhat more attention in order to show some essential aspects of this connection. So, The transition from myth to logos, which took place in the culture of ancient Greece, mediated by an aesthetic vision of reality. For the ancient Greeks, the world is a kind of work of art: harmonious cosmo with the order of things inherent and balance of the general "Greek worldview," notes F. Cassidy, "connects rational-rational vision of the world with an intuitive-artistic vision of it as a cosmos; it is equally far away both from flat positivism and from romantic irrationalism . In Losev, it’s even more categorical: The whole ancient philosophy, ultimately, is nothing but an aesthetic p пsumku, not just yak aesthetics "

In this case, it is important that the philosophical and broader - scientific consciousness - grew on the unity of two other forms: the mythological consciousness and the expressed connection with the artistic and aesthetic attitudes to the world. development of concepts - the language of science The specificity of scientific knowledge - in the objective method, i.e. method, which denies the intervention of supernatural forces in the phenomena of nature. Note that the formation of science in the modern sense of the word means a special logic of the relationship (practical and cognitive) to the nature: it appears to be an object, for knowing the qualities, properties and relations of the world need to distance themselves from the random sensory, to oppose the subject of my I This is the first condition of the sciences of approaching the cognitive process her own subject would be able to reflect the logic of its vitality and display it with a universal and self-pervasive form.

Interesting aspects of creating a cognitive image in science, which are characterized as a "symbolic description", contains the work of P. Florensky Thought and Language. The philosopher believes that the consistency of images of science to the laws of thought and essential relations of images should not contradict relations of things and, finally, images should be expedient related to the cognitive-creative process, or the essential unity of the ways of forming a relationship, discover in such an association. In science, a symbolic image is affirmed and connected at the same time: it is affirmed as a special entity, and the cognitive / Duality is also associated as an essence in art: artistic images will have to respond to the principle of greatest embodiment, concrete, life-giving awnings, but an experienced artist will make efforts so that the images do not lose the aesthetic isolation and do not dissolve into reality і and not dissolve into reality."

Important in the context of the aesthetic factor in the cognitive process is the ability of the subject to keep the whole being of the object. This pattern is inherent in any kind of cognition and formation, including scientific knowledge. The aesthetic approach retains its value in scientific knowledge in the sense that an isolated (from the subject) subject idealization must be opposed to the internal idealized and object-image, visible only by the eyes of the mind.This is an intuition phenomenon that constitutes a transformed plan tonic forms-ideas It is about the principle of idealization, it grows on the basis of already tested aesthetic experience of constructing an image-object. Another important aspect of the problem: scientific knowledge and its results differ from other types of formation not by the phenomenon of alienation of the world through the concept of destruction of its integrity. the form in which the image of the world fits. The essence of logical and sensory cognition is associated with the formation of the ideal way of existence of reality, with dynity.

Modern philosophy concentrates attention in the language of scientific symbolization, emphasizing: it forms a specific image of reality, rather than destroying reality, alienating it into images-concepts. The difference between science and art in the degree of universalization, i.e. degrees all universality of images-symbols with the help of which knowledge seeks to comprehend reality In the symbol of ah-concepts of science, universality acts with viscous relations and qualities that open the world in its values ​​precisely on this basis: the unity of the world that exists in every miniature fragment of being As the above shows, logical knowledge does not dissolve, does not dismember the world, it is usually incriminated to it. It preserves the world in its integrity: not the single, sensually given fragment of being, but the integrity that it represents. thinking is melting, forming holistic in the world on the basis of comprehending its internal connections, the objective laws of its existence exist, thinking builds the world based on the logic of the object and the logic of subject-object relations, and the criterion of truth in scientific knowledge, as defined by modern the theory of knowledge, associated with the aesthetic beginning of A. Einstein, noting the experience of the development of science in the 20th century, called the following criteria "an internal plan and an external justification" .