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INFORMATION PARADIGMS OF ART FROM THE HISTORY OF SOCIAL AESTHETICS
Abstract
The present scientific paper deals with the worldview understanding of features of information and communication functions of art according to the вЂTheory of Environment’ and вЂConception of Organotropism’ from the history of Europeanworldview philosophical and aesthetic thought, particular: According to the main principle of Social Aesthetics of French philosopher and sociologist Jean-Marie Guyau [in the work “Problems of Contemporary Aesthetics”] the aesthetic ideal of art has a meaning by presentive only social sympathy aesthetics; A German philosopher and aesthetician Alexander Gottlieb Baumgarten discusses the highest aesthetic value of art by social point of view [in the work “Aesthetics”], supports the main principle of his theory of art – life reaches its highest intensity in the socium as cooperation and collaboration and communication and in order to make it solid, it must deserve social sympathy – and unchangeably takes it into his theory of aesthetics. A famous French philosopher, thinker, writer, historian, one of the leaders of the French Enlightenment Francois Marie Arouet de Voltaire, French sociologist Charles de Montesquieu, German historian and theorist of art Johann Joachim Winckelmann, German philosopher, man of letters and critic Johann Gottfried Herder, English aesthetician and critic of art John Ruskin, German philosopher, founder of the philosophy of dialectical and historical materialism Karl Marx, French idealist philosopher, historian and theorist of art Hippolyte-Adolphe Taine by their original and completely social-aesthetic doctrine consider phenomenon of art by Organotropic formula that means they outline the peculiarities of the information function of art is pre-defined with some social conditions, especially geographic, geologic, climatic, biologic, social, political, cultural and historical factors. As it is seen from the paper, these are selected models of some searching aesthetic paradigms that have been identified to suggest that information content and status of the artistic creation works for the peculiar and special level of social condition and situation.
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