Короткий опис(реферат):
У дисертації представлено експеримент як естетичне поняття (мистецький експеримент), його становлення у понятійному апараті естетики та у мистецькій практиці кінця ХІХ - першої третини ХХ століття. В межах зазначеного періоду проаналізовано два види мистецького експерименту: онауковлений мистецький експеримент та модерністський мистецький експеримент. Опрацювання та осмислення специфіки кожного з видів потребувало аналізу їх філософсько-естетичної бази та естетико-художніх концепцій, що їх представили. Підґрунтям для впровадження онауковленого мистецького експерименту стали філософсько-естетичні погляди позитивістів (О. Конт, І. Тен), а практичне втілення він здобув естетико-художній концепції натуралізму Е. Золя. Філософсько-естетичну базу модерністського мистецького експерименту представили праці Т. Адорно, В. Беньяміна, Г.-Ґ. Ґадамера, Я. Мукаржовського, Х. Ортеґи-і-Ґассета, а виявився він у естетико-художніх концепціях фовізму, кубізму, футуризму, супрематизму, абстракціонізму, сюрреалізму. Ідея експериментування була провідною в розвитку європейського та українського мистецтва першої третини ХХ століття.
Суть розробки, основні результати:
The thesis represents experiment as an aesthetic notion (artistic experiment), its formation in conceptual mechanism of aesthetics and in artistic practice at the end of ХІХ - the first third of ХХ century.
Within the said period two types of artistic experiment are analyzed: scientific artistic experiment and modernistic artistic experiment. Scientific artistic experiment is represented as artistic creative work method, which by succeeding the specific features of scientific experiment is aimed at creating new knowledge about reality within the artwork. Modernistic artistic experiment is represented as artistic creative work method consisting in testing and modeling of all possible means and methods of creation, creative process components and artistic image in order to implement new instead of customary, conventional. Elaboration and understanding of each type specific features required the analysis in philosophic and aesthetic background of their formation as well as aesthetic and artistic concepts, by which they were represented. The background for implementation of scientific artistic experiment became philosophic and aesthetic views of the positivists (O.Kont, H.Taine), and was actually implemented in E. Zola’s aesthetic and artistic concept of naturalism. It is in works of E. Zola where “experiment” notion was first applied in conceptual and category mechanism of aesthetics. Philosophic and aesthetic background of modernistic artistic experiment was represented in works of Т. Adorno, W. Benjamin, H.-G. Gadamer, J. Mukarzhovsky, J. Ortega y Gasset, where philosophers interpreted and classified the “experiment”, described its functions and relationships. Modernistic experiment was effectively applied in aesthetic and artistic concepts of fauvism, cubism, futurism, suprematism, abstractionism, surrealism. Theoretical concepts as well as artworks were experimental since they appeared through experimental method of creation. Among artistic experiments were distinguished several types of modernism depending on the components of artistic process or artwork which were determinative in the experimenting. Respectively were distinguished experiments with color, form, experiments with creative methods, materials applied.
The idea of experimenting became popular in the development of European as well as Ukrainian art of the first third of XX century. Among Ukrainian artists of modernism period effectively experimenting with form were M. Semenko and the group of futurists, artists O. Ekster, K. Malevych, O. Bogomazov. V. Palmov concentrated on experimenting with color, Les Kurbas - on creation of experimental theatre.