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"Philosophy of Education"

2015 year, number 2

Artistry in a context of emotional-aesthetic development

D. M. Spektor
Institute of Art Education of the Russian Academy of Education, Str. Pogodinskaya, 8, korp. 1, Moscow, 119435, Russia
Keywords: art education, aesthetic development, emotions, typical and unique situations, spontaneity

Abstract

The diverse apologetics has not managed to fix a clearly delineated purpose for the sphere of art development. The change of the established evaluations is possible only with the change of general views on the sphere of emotions. Its reconsideration significantly changes also the purpose and structure of the artistic-aesthetic development. The methodologically consistent extraction of a «teaching process situation» out of the framework of mastering the known and putting it into the «here and now» context, making accent on the contextual perception-action serve as a methodological reference point of the planned transformations. Culture is called to cultivate a number of basal instincts in the human being. In the historically first form of a cult it initiated the defense instinct, or an ecstatic condition, in which inhibition was realized of the reflectory schemes of reaction (including the most significant self-preservation instinct), while triggering the collective-spontaneous reactions. Transcendental aesthetics absorbs this primary thing as a spontaneous reaction to unique situations together with their addressing the group in the form of requirements of harmonization, expressiveness and playing with such type of situations as the general-cultural attitude towards the world. Returning its original missions to aesthetics requires its rethinking, including in terms of didactics, as a developed systems of skills of aesthetical (inspiring a group spirit) shaping of spontaneous initiatives. The further rethinking of ontological subcurrent of didactics can be seen in shifting of the accents of art development from mastering the technical-pictorial skills and «the history of arts» to the general conditions of development of emotional sphere. And within its framework the first role should be taken by the purposes and practical tasks of arts (in their original role of turning to the unique) or «art» in its deftness of turning the everyday experience into a poem. In the most general form, the conclusion from the above would be the methodologically consistent extraction of a «teaching process situation» out of the framework of «mastering the known and established» and putting into the context of «event» while making accent on the situational-spontaneous perception-action. In light of the proposed interpretation, the mastering of aesthetics is an intense work of self-improvement. First of all, it is a fundamental reworking of the sphere of «direct experience», which is substituted by the consciously formed openness with respect to inner sources of harmony (synthesis). It is also re-orientation of development towards its true subject, the sphere of the one-time and unique, which initiates, in particular, going out of the limits of natural separateness (the sublime), and, at the same time, keeping the frames of the beautiful (inner-ordered game of emotions). Ultimately, it is cultivation of the «harmonious person» not inside the monastery walls, in the monastery cells or studios, but in the environment of joint experiences and actions.