Philosophy
/4. Philosophy of culture
Ph.D.
Klimova Galina, Ph.D. Klimov Victor
Ural State Academy of ARTS ( Russia)
Inversions
of Taste
The meaning of the phrase "inversions of taste" is associated with
the generally accepted view of the covert nature of the phenomenon, because of
its historical mobility, as well as many meaningful articulations in
theoretical versions of taste. Here its differences always due to the
conceptual increments and angles consideration from the standpoint of a
scientific paradigm - philosophical (logic, ethics and aesthetics), cultural,
sociological, art criticism.
In
addition, the well-known maxims like "to his own taste ..." and
"tastes are differ," despite of their non-strict scientific status had
not become an axiom and argues in many theoretical research, as both are the
statement of self-sufficiency and personal incomparability taste. Exactly "the
illusion of presence" raises doubt. Both of them may become the
starting point in discussions about the illusory persuasion in the sufficiency
of the subject of their own aesthetic preferences, the possible existence of
objective criteria for taste aesthetic education of the means and ways of
forming the artistic tastes in the differentiation of tastes for personal, social
or ethnic and cultural levels. The present differentiation of tastes, in its
turn, makes address to the reasons for these differences to the terms and
phases formation of taste and therefore to pay attention to the detection of
its proper nature [1].
In
the traditions of classical aesthetics the common provisions are:
Taste is an
integrative psycho-physiological, biological, and social phenomenon in
principles of man. Taste is regarded in the structure of aesthetic
consciousness: the ability - the sense - the taste - the estimation - the
judgment - the ideal. The main vectors in scheme of the evolution in aesthetic feeling
that affect the taste are feeling and ideal. The feeling is based on the
psycho-physiological level, the ideal (rational), through the educational
system and the social values of education, translates
particular stage of the culture. Categories of feelings lie in the field of
psycho-physiological, semiotic knowledge and the ideal is in the social
sciences. Experiencing the effects of these
two poles taste is based in the middle area of aesthetic feeling. Because of
this, it has various subject characteristics (emotional- rational,
experience-judgment, inherent-acquired, natural-social, intuitive-logical). In addition, the present structure
reflects the particular stages of socialization. Human is born with different
degree of sensory talent. On the
starting stage of development defined by "abilities",
"propensities", "needs", "predisposition" the
future taste is formed by environmental specific socio-cultural realities of
each one. To that we just should add that the natural and social beginnings are
not equal terms of persons taste and the degree of their proportion is the
reason for distinguishing individual tastes in the end [2].
One
would think that the found factors for influence in the nature of taste have
to explain it; nevertheless it remains a mystery (intuitive, innate,
sacral, immanent) phenomenon. The thesis about illusory nature is even proved
by the existence of a perfect taste which belongs to the area of its
imagination, memory, possible synonymous inversions - a vision of the sublime,
the myth and archetype, the phenomenon of subjective dignity, something
imaginary, covert, hidden, as well. Concluding
the discussion of interpretations of aesthetic taste, we should note their
lower importance in culture to compare with the historical philosophic
researches of the past. We can say that in the theory of taste there is
"The empty throne" in front of us. If the first
definition belonged to the problems of aesthetic taste in the classical
paradigm were interpreted by taste is an illusion as Pushkin said «I will cry away over the
fiction» and “I am glad to delude myself”, so the expression an appetite for illusion touches existing of the phenomenon in the other -
non-classical culture (postmodern) and post-non-classical case of global
informatization and virtualization. Let us call the most obvious phenomena of
the modern existence taste [3].
The confidence of the "consumer
society" to advertising, commercial product design is reinforced by
the mass media technologies and manipulators opportunities of the social
network. A result is a terrible loyalty and homogeneity of tastes. "Dream
factory" design has created a very effective new environment formation of
artificial needs and taste preferences. Now the necessary of illusions design,
prestige, and success is carried out through more symbolic than functional
meaning things, the environment, image, lifestyles and systems of social
communications. There are illusions of social customer's own choice which is
implementing their own taste preferences within the proposed (artificial)
circumstances - services, situations, and products. Imitation of a choice leads
to the taste autodidactic and
"narcissism” mania. Thus remains the unclear nature and quality of taste
to the "demiurge", whether it is an instinctive delusion and
professional incompetence or principles position and parade ambitious [4].
Virtual reality in art
is created by computer means and artificial environment in which you can enter
by the changing it from the inside, watching the transformation and
experiencing the real sense of being. Having got in this new type of
perfecting audiovisual reality, you can already get in contact not only with
others but also with artificial characters. The concept of "virtual
world" embodies a double meaning like the hollowness, the possibility and
validity.
The
specificity of modern virtuality consists in interactivity, which allows replacing
a mental interpretation to the true impact by transforming the material
object of art. Transformation of spectator and reader from an observer into the
co-creator who influenced to the formation of the work and the experienced a
feedback effect, creates a new type of aesthetic feeling. Modification of
aesthetic contemplation, emotions, feelings, perceptions is associated with the
shock of the permeability of the aesthetic object that has lost the border, the
integrity, stability, and opened open to many inter-artists-amateurs.
New aesthetic picture of
virtual world differs apparent lack of chaos and lined up perfectly
ordered, which replaced the chaos of post-modern game. Pseudo-authenticity of
the virtual artifacts is the basis of diverse aesthetic experiments in
cyberspace. Digital display, electronic effects changed the traditional
aesthetics in many ways. Given by the author virtual hypertext can be read only
by a computer, through the interactivity of the reader, choosing the way of
plot development, which "admits" in it new episodes and characters,
etc. In the field of mass culture
and applied area has arisen interactive
industry entertainment and next-generation services on the basis of the virtual
culture, which plays on the principle of feedback and presence like multiple
video games, promotional videos, , fairs, interactive educational programs,
electronic simulators, virtual meeting rooms, case rooms, etc.. Mass
Postproduction (toys, gadgets, reproducing of the popular film and characters
etc.) has provoked a kind of role-metamorphosis by turning art into a kind of
virtual advertising of such products. Analysis of the virtual specific in
different forms and genres of art leads to the conclusion that associated with
substantial transformation of aesthetic perception the perception, rather than
an artifact process, is not the result of co-creation, lay in the center
of theoretical interest [5].
In our mind the process of formation and concretization
of taste orientations is productive through the image of memory layers that are
composed from cumulative subjective and social experience. In their turn, they
resemble the «layers» and including figurative composite basis, that are
significant for rational development, as filling the emotional-intellectual
«cells» of the unconscious.
And one more time, inevitably arises a problem of memory - déjà
vu - a psychological condition in which a person feels that he has already been
in same situation, however, this feeling is not associated with a specific
moment in the past, and refers to the «past at all». The condition of déjà
vu in taste like re-reading the long already read book or watching a movie you
used to see, but already forgot what they were about. You can't tell what will
happen the next moment, but you can understand that you have already seen it
for a few minutes, as a reaction on several consecutive events. All the power
of the experience of déjà vu is the feeling, as if there were
hundreds of versions how could you pass this moment, but it seems that you
preferred to this entire situation and this place. And it makes you evaluate
and judge about everything have done.
The impression of déjà
vu can be so strong so that you will think about it for years. But, as a rule,
a person cannot recall any details about events he remembered, when he
experienced déjà vu. This condition is accompanied by
depersonalization, so that reality becomes unclear. At the present time it can
be considered as a reasonable assumption and the effect of déjà
vu can be called, for example, like you have dreamed it. In this case, when a
person meets the real situation, that he has already seen in a dream and
already successfully simulated in brain which is quite close to the actual
event, is called déjà vu. Creative interpretation of this
phenomenon is most clearly shown in the works of Andrei Tarkovsky, in
particular, in his film «Mirror». Autobiographical memories merge not only with
memoirs of parents, but fateful images of the Motherland and the world. Look at
some models of the postmodernism culture and contemporary situation of tastes.
The problem chaos of information in the computer world is also solved
virtually. In fact, this information network is perceived as pseudo-ordered and
acting according to the clear rules with an expected effect. In the domestic
media space there are simultaneously different in scale - traditional and
innovative images, forming some migrating spiritual culture, taste and
aftertaste, as a conscious choice (good taste) and intuitive subconscious «it».
Conclusion (Main
Tips)
1. It was needed so much creative activity from
the audience, which must reproduce the primary operation now, the artist with
all his intellectual baggage which is, produced a new fetish, but he has never
received so much in return.
2. In our opinion, the main
problem of aesthetic unreliability brings us back to the basics of aesthetics
and raises questions about the credibility of the assessment. Aesthetic
unreliability supports the point of view that our internal aesthetic life is
anarchic and unpredictable. Objectivity of taste judgment is controversial.
Aesthetic insecurity is a new problem for aesthetics, which requires revision
of the cognitive and affective bases of taste.
Today we understand that the taste is much more
anarchic, ambivalent and confusing.
3. Work for aesthetics in
determining what is considered well formed taste in connection with a more
complex description of aesthetic experience. How can we distinguish between
authenticity and in authenticity of aesthetic judgments? Can my taste be formed
when it is inconsistent with my experience? What is the taste
itself? What is the aesthetic life really?
4. There
are simultaneous existences of many models of tastes in poli-paradigmatic
cultural situation, for example, individual, mental, homogeneous, virtual and
other. Also there are several environments of its formation: subject-matter,
space-environmental, informational and communicative, artistic.
5. Are there any meetings of simultaneously existing models of taste: the elite, mass and traditional, that are found in opposition to each other? Today these unresolved questions in aesthetics are valuable as ever for the various worlds of culture. «The empty throne» is waiting for its Genius.
Notes:
1.Bourdieu P. Distinction. -
Routlege, 1994. http://sociologist.nm.ru/articles/burdieau_01.htm
2. Dolgin Z., Podoroga V. To be raised today is
to be not fashionable //« Critical weight » 2003, ¹3. http://magazines.russ.ru/km/2003/3/fil.html
3. Klimova G., Klimov V. Aesthetic taste as design
culture and creativity of the person. Ekaterinburg, 2009. pp. 20, 61-62.
4. Lexicon of non-classics. Art - aesthetic culture of
XX century / V.V. Bychkov, M., 2003. http://yanko.lib.ru/books/aesthetica/buchkov-estetika-lexicon.htm
5. Melchionne K. A New Problem for Aesthetics// Contemporary
Aesthetics (CA), Volume 9 (2011). http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=621
6. Sontag S. Notes on Camp. N.Y.,
1964. http://www9.georgetown.edu/faculty/irvinem/theory/sontag-notesoncamp-1964.html