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Политики медиа и эстетика. / Savchuk, V. V.

In: Vestnik Sankt-Peterburgskogo Universiteta, Filosofiia i Konfliktologiia, Vol. 34, No. 4, 2018, p. 585-596.

Research output: Contribution to journalArticlepeer-review

Harvard

Savchuk, VV 2018, 'Политики медиа и эстетика', Vestnik Sankt-Peterburgskogo Universiteta, Filosofiia i Konfliktologiia, vol. 34, no. 4, pp. 585-596. https://doi.org/10.21638/spbu17.2018.411

APA

Savchuk, V. V. (2018). Политики медиа и эстетика. Vestnik Sankt-Peterburgskogo Universiteta, Filosofiia i Konfliktologiia, 34(4), 585-596. https://doi.org/10.21638/spbu17.2018.411

Vancouver

Savchuk VV. Политики медиа и эстетика. Vestnik Sankt-Peterburgskogo Universiteta, Filosofiia i Konfliktologiia. 2018;34(4):585-596. https://doi.org/10.21638/spbu17.2018.411

Author

Savchuk, V. V. / Политики медиа и эстетика. In: Vestnik Sankt-Peterburgskogo Universiteta, Filosofiia i Konfliktologiia. 2018 ; Vol. 34, No. 4. pp. 585-596.

BibTeX

@article{bfa0f5ca707947c181edda3c910fb24b,
title = "Политики медиа и эстетика",
abstract = "The article suggests comparative analysis of the transformation of the aesthetic approach in the era of the medial turn. How does the object of aesthetics change, what are its principles and methods? How does media-analytics affect the traditional aesthetic analysis and its subject{\textquoteright}s theming? For this purpose, the author examines two extreme positions of the apology of aesthetics and its radical criticism. The principal feature of the media analysis stands out, to which a value-neutral judgment, formality and emotional indifference are inherent. Aesthetics, however, retain the productivity of its evaluation resource. Media has its own interests and its own approaches to pursue them. In this case the media relies on the aesthetics resource. However, the role of aesthetics in obtaining the media power is explored insufficiently. The analysis of relationship between media policies and aesthetic regime will allow to define the media{\textquoteright}s own specific policies aimed at self-determination and self-justification, as well as the new horizons of aesthetics. Aesthetics has its own policy. An acute question is raised about the sphere that is not given to aesthetics, on which it cannot draw a network of its categories, which again indicates the irrevocability of out-of-aesthetic experience. And on the contrary, what is brought under the category of aesthetic loses its modus of relevance, turning into a normative regime of art or a legitimate page in the history of culture. The regularity is noticed, the more slender is the history of aesthetics and the clearer are its foundations and criteria of self-reflection, the stronger is the will to block its true resource. In other words, the will to history, constructed on the basis of the principles of its self-description remaining in the last century, leads to the stagnation of aesthetics.",
keywords = "Aesthetics, Contemporary art, Judgment, Media, Performance, Policies",
author = "Savchuk, {V. V.}",
note = "Publisher Copyright: {\textcopyright} 2018 Saint Petersburg State University. All Rights Reserved.",
year = "2018",
doi = "10.21638/spbu17.2018.411",
language = "русский",
volume = "34",
pages = "585--596",
journal = " Вестник Санкт-Петербургского университета. Философия и конфликтология ",
issn = "2542-2278",
publisher = "Издательство Санкт-Петербургского университета",
number = "4",

}

RIS

TY - JOUR

T1 - Политики медиа и эстетика

AU - Savchuk, V. V.

N1 - Publisher Copyright: © 2018 Saint Petersburg State University. All Rights Reserved.

PY - 2018

Y1 - 2018

N2 - The article suggests comparative analysis of the transformation of the aesthetic approach in the era of the medial turn. How does the object of aesthetics change, what are its principles and methods? How does media-analytics affect the traditional aesthetic analysis and its subject’s theming? For this purpose, the author examines two extreme positions of the apology of aesthetics and its radical criticism. The principal feature of the media analysis stands out, to which a value-neutral judgment, formality and emotional indifference are inherent. Aesthetics, however, retain the productivity of its evaluation resource. Media has its own interests and its own approaches to pursue them. In this case the media relies on the aesthetics resource. However, the role of aesthetics in obtaining the media power is explored insufficiently. The analysis of relationship between media policies and aesthetic regime will allow to define the media’s own specific policies aimed at self-determination and self-justification, as well as the new horizons of aesthetics. Aesthetics has its own policy. An acute question is raised about the sphere that is not given to aesthetics, on which it cannot draw a network of its categories, which again indicates the irrevocability of out-of-aesthetic experience. And on the contrary, what is brought under the category of aesthetic loses its modus of relevance, turning into a normative regime of art or a legitimate page in the history of culture. The regularity is noticed, the more slender is the history of aesthetics and the clearer are its foundations and criteria of self-reflection, the stronger is the will to block its true resource. In other words, the will to history, constructed on the basis of the principles of its self-description remaining in the last century, leads to the stagnation of aesthetics.

AB - The article suggests comparative analysis of the transformation of the aesthetic approach in the era of the medial turn. How does the object of aesthetics change, what are its principles and methods? How does media-analytics affect the traditional aesthetic analysis and its subject’s theming? For this purpose, the author examines two extreme positions of the apology of aesthetics and its radical criticism. The principal feature of the media analysis stands out, to which a value-neutral judgment, formality and emotional indifference are inherent. Aesthetics, however, retain the productivity of its evaluation resource. Media has its own interests and its own approaches to pursue them. In this case the media relies on the aesthetics resource. However, the role of aesthetics in obtaining the media power is explored insufficiently. The analysis of relationship between media policies and aesthetic regime will allow to define the media’s own specific policies aimed at self-determination and self-justification, as well as the new horizons of aesthetics. Aesthetics has its own policy. An acute question is raised about the sphere that is not given to aesthetics, on which it cannot draw a network of its categories, which again indicates the irrevocability of out-of-aesthetic experience. And on the contrary, what is brought under the category of aesthetic loses its modus of relevance, turning into a normative regime of art or a legitimate page in the history of culture. The regularity is noticed, the more slender is the history of aesthetics and the clearer are its foundations and criteria of self-reflection, the stronger is the will to block its true resource. In other words, the will to history, constructed on the basis of the principles of its self-description remaining in the last century, leads to the stagnation of aesthetics.

KW - Aesthetics

KW - Contemporary art

KW - Judgment

KW - Media

KW - Performance

KW - Policies

UR - http://www.scopus.com/inward/record.url?scp=85063111461&partnerID=8YFLogxK

U2 - 10.21638/spbu17.2018.411

DO - 10.21638/spbu17.2018.411

M3 - статья

AN - SCOPUS:85063111461

VL - 34

SP - 585

EP - 596

JO - Вестник Санкт-Петербургского университета. Философия и конфликтология

JF - Вестник Санкт-Петербургского университета. Философия и конфликтология

SN - 2542-2278

IS - 4

ER -

ID: 93878292