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ALEKSANDR S. DRIKKER
St. Petersburg State University,
Institute of Philosophy,
St. Petersburg, Russia
IPHILOGENETIC TREE OF ART
Abstract. The advent and flourishing of new art forms mark the borders of cultural epochs. Artistic discovery of a renewed image of the world is initiated by the pursuit of the absolute spirit but is realized on a strictly material ground. The basis for art modification lies in the emergence of new information media and its coding modes. The emergence and blossoming of easel painting, secular literature and poetry as well as new musical genres after the Middle Ages are realized by means of a transfer of the image from the wall to the canvas, introduction of typesetting and the printing press and creation of new musical instruments. Evolutionary historical process demands more effective media and codes.
The undetermined state of the topical art (multimillion-strong armies of artists, billion-strong throngs of spectators and myriads of artworks can be treated either as a sign of a wild blossoming or of degradation) is the result of the global expansion of information and communication technologies. The screen becomes the centerpiece of the cultural life while computer memory cells become the universal media for storing binary coded information.
Such a cultural revolution inevitably leads to a large-scale transformation of traditional art forms. Moreover, the progressing disembodiment of art in the virtual environment and its reduction to molecular structures similar to those of neuron networks, gives us a hope to reach the nucleus, wrapped into a shell of a form, and come close to understanding of “what art is.” It may happen that the visual/electronic era will outline the limits of art existence as a separate phenomenon of the rational culture. Nevertheless, the creative energy driven by the overpowering aesthetic emotion may manifest itself in a multitude of imagination games.
Key words: visual era, art forms, unique/universal information media, digital memory, disembodiment of art