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7 Сентябрь 2010

The composite centre

написано в рубрике: Books, News, Tips — Метки: , , — admin @ 12:22
Page 1 of 512345
I.
The the thing is easier, the it is more mysterious. But to behold this mysteriousness it is given not to everyone. It is pleasant to people to deal with evidence, and many try to avoid as непонятностей, and speculations. Цицерон has truly noticed: «evidence is belittled by proofs». It is belittled and any analysis.
But here the trap is hidden also. Having refused own thoughts in favor of evidence, the person risks to be tangled in networks of contradictions.
Not so clearly, about what there is a speech? Now all will be explained.
One of these days the textbook of methodics of the Orenburg state university «composition Laws was fell into in hands to the author of these lines. Composite center» [1]. The textbook of methodics quite good as a whole. But there is in it one закавыка. Of this year Shlejuk, the author of the publication, names in the beginning composite center «the main carrier of idea, the spokesman of an artistic image». And hardly further writes that the composite pause, that is the empty space in group of the elements forming a composition (fig. 1 see) can be composite center.
Fig. 1. Olga Alfimovoj’s illustrating thought on those the operation,
That the composite center can be in the empty space [1].
Whether means it, what the carrier of idea of this operation is emptiness? Certainly, no. (Though, I admit that such idea is necessary to many admirers of novels of V.Pelevin to liking.)
Or here one more example. From Lydia Pavlovny Dyko’s known book «Conversations about photoskill» [2]. There in the fourth chapter it is said that «as a basis of a composite picture clearly generated semantic center of a pattern» serves, and hardly the stipulation is more low resulted: «But along with the pictures having at the heart of creation accented composite center, in photo practice meet also such where the accurate accent on one of elements of a composition like and isn’t present, at the same time the picture is finished on a picture». But time so there is a natural question: whether so it is necessary composite (or semantic) center or it is possible to manage and without it? And if it is possible, in what cases?, Alas, the author doesn’t give answers. Besides, in [3] author of these lines already said that the graphic accent can be made on the detail which have been not connected to principal semantic center …
Now, attention! A question: what practical outputs the beginning author can derive from such dial-up of ambiguities? Most likely, everyone will give the interpretation to a stated material and will draw the outputs. It is quite good for polemic operation, and here for educational is a lack. The reason, obviously, consists that the author doesn’t result determinations to terms «composite center», «semantic center», “accent”, «the finished picture», etc. From here and confusion in heads of readers.
The described problem is peculiar not only to these two publications. Very many authors argue on composite and semantic centers, without explaining that they themselves represent. This concept seems so obvious and intuitively clear that any determinations are represented excessive.
Let’s try to break this tradition.
II.
So how many at the image of centers? To tell the truth, as much as necessary. All depends on meticulousness of the researcher. Such answer though is true as a matter of fact, but from the methodical point of view of the big favor doesn’t carry.
More pragmatic approach demands to name at least three main centers, peculiar to almost any art image:
1. Geometrical center — crosspoint of diagonals of the square-topped image.
It isn’t too interesting to us. We will mention only well-known fact: if object “center of gravity” coincides with geometrical center of the image the composition as a whole is perceived as stable, static, invariable.
2. The composite center — the center, allowing to control attention of the spectator.
In composite center not is mandatory there should be something principal and significant. The composite center, generally speaking, isn’t intended for disclosure or accentuation of the main idea of the image (though can be used for this purpose). The Main tasks at it — others. At first, it promotes composition formation as single whole (doesn’t allow to a picture to collapse on components). Secondly, it retains attention of the looking. The spectator can long consider a pattern, thus in composite center its attention will be repeatedly returned. It is the original magnet permanently attracting a look. Making visual traveling on a picture plane, the spectator often begins routes with composite center and in it and is returned.
The composite center is available even for the abstract patterns and the formal images, for example, at a pattern on wall-paper.
The composite center is formed by not so much object or its semantic parts, how many the formal image elements: points, dashes, stains, color, invoices, pointers, lines, etc.
The composite center is not always a point. It can be presented some stretched area. For example, on portraits en face in overwhelming majority of cases eyes will be such center. And it is senseless to specify: right, left or a point in between?
Sometimes the image can contain some composite centers. For example, them can be two: principal and minor. For portraits the fullface one more composite center (besides eyes) can be a front sight on the person [3].
If in the image the composite center misses, the spectator has nothing to stop a sight. At the best it it is indifferent will stop review and at once will forget the image. In the worst — will sicken and for a long time will like the negative emotions. Therefore the beginning author should realize solid: the composite center should be always.
3. The subject (semantic) center is the center containing a principal or important subject element (or group of elements).
Answers to questions are often connected to subject center: about what the given product? What did the author want to tell? What is the most significant in the image? Who the protagonist of a plot?
The subject center can coincide with composite, and can and to be separated spatially from it. Alexander Lapin states [6] that «In case of coincidence of eyes comes to understanding of an essence represented at once, he isn’t tired with the minor details which can be considered and then. Such composition is most economic and clear». It is difficult to agree With it. Functions at subject and composite centers different, and, hence, their diversity in space isn’t so mandatory leads to necessity to consider the minor details. In more details this question will be considered more low at the analysis of examples. Unambiguously understood essence (clearness) is generally more soon a good wish and-or illusion. To calculate for identical understanding of an essence all — it is naive. Moreover, the greatest works of art are those just because they aren’t so unambiguous, as arithmetics textbook.
When subject and composite centers coincide, it is accepted to speak about uniform sjuzhetno-composite center.
On the area the subject center can exceed the composite considerably. Can be and so that the area of subject center will occupy an essential part of all image (for example, in some group portraits).
Subject centers as well as composite, can be a little. However to abuse this rule doesn’t follow. In overwhelming majority of cases it is more reasonable to adhere to the recommendation: one image — one plot. Other possible alternative: to make one subject center the main thing, and the second — minor, subordinated.
In abstract (and some other) compositions the subject center can miss at all. Refusing explicit subject center (but not from the composite!), the author gives the chance to the spectator most to be defined with a plot. To Someone it can it will be pleasant. And someone will shrug shoulders and will tell: «I will not understand, about what it? What did the author want to tell?» Sometimes in such cases the composite center automatically starts to play a role of the subject. Therefore to the beginning author it is necessary to think over properly in absence of an explicit plot the formal composite elements, including center (centers).
George Kolosov recommends «… to give to semantic center luminous accent that, by the way, is the first composite principle светописи» [4]. In a photo such accent can be made also at the expense of control of depth of sharply represented space.
One of basic rules of the photographer, the painter, the designer and etc. could be formulated so: it is not necessary to neglect the realized formation composite and, if needed, and subject centers. Both that, and another are very important elements influencing perception.
III.
Enough boring theory. We will pass to the analysis of examples.
At arguing of composite centers most often consider following picturesque cloths: «Resetting of the prodigal son» Rembrandt ван Rhine, «the Sikstinsky Madonna» Raphael Santi, «Ivan the Terrible kills the son» Ilya Repin, etc. At desire the reader without special difficulties can find these which have already become classical, examples of the analysis in the literature.
Here it would be desirable will stop on other examples, namely: on cases when centers happens a little.

I.
The the thing is easier, the it is more mysterious. But to behold this mysteriousness it is given not to everyone. It is pleasant to people to deal with evidence, and many try to avoid as непонятностей, and speculations. Цицерон has truly noticed: «evidence is belittled by proofs». It is belittled and any analysis.
But here the trap is hidden also. Having refused own thoughts in favor of evidence, the person risks to be tangled in networks of contradictions.
Not so clearly, about what there is a speech? Now all will be explained.
One of these days the textbook of methodics of the Orenburg state university «composition Laws was fell into in hands to the author of these lines. Composite center» [1]. The textbook of methodics quite good as a whole. But there is in it one закавыка. Of this year Shlejuk, the author of the publication, names in the beginning composite center «the main carrier of idea, the spokesman of an artistic image». And hardly further writes that the composite pause, that is the empty space in group of the elements forming a composition (fig. 1 see) can be composite center.

Fig. 1. Olga Alfimovoj’s illustrating thought on those the operation,That the composite center can be in the empty space [1].
Whether means it, what the carrier of idea of this operation is emptiness? Certainly, no. (Though, I admit that such idea is necessary to many admirers of novels of V.Pelevin to liking.)
Or here one more example. From Lydia Pavlovny Dyko’s known book «Conversations about photoskill» [2]. There in the fourth chapter it is said that «as a basis of a composite picture clearly generated semantic center of a pattern» serves, and hardly the stipulation is more low resulted: «But along with the pictures having at the heart of creation accented composite center, in photo practice meet also such where the accurate accent on one of elements of a composition like and isn’t present, at the same time the picture is finished on a picture». But time so there is a natural question: whether so it is necessary composite (or semantic) center or it is possible to manage and without it? And if it is possible, in what cases?, Alas, the author doesn’t give answers. Besides, in [3] author of these lines already said that the graphic accent can be made on the detail which have been not connected to principal semantic center …
Now, attention! A question: what practical outputs the beginning author can derive from such dial-up of ambiguities? Most likely, everyone will give the interpretation to a stated material and will draw the outputs. It is quite good for polemic operation, and here for educational is a lack. The reason, obviously, consists that the author doesn’t result determinations to terms «composite center», «semantic center», “accent”, «the finished picture», etc. From here and confusion in heads of readers.
The described problem is peculiar not only to these two publications. Very many authors argue on composite and semantic centers, without explaining that they themselves represent. This concept seems so obvious and intuitively clear that any determinations are represented excessive.
Let’s try to break this tradition.
II.
So how many at the image of centers? To tell the truth, as much as necessary. All depends on meticulousness of the researcher. Such answer though is true as a matter of fact, but from the methodical point of view of the big favor doesn’t carry.
More pragmatic approach demands to name at least three main centers, peculiar to almost any art image:
1. Geometrical center — crosspoint of diagonals of the square-topped image.
It isn’t too interesting to us. We will mention only well-known fact: if object “center of gravity” coincides with geometrical center of the image the composition as a whole is perceived as stable, static, invariable.
2. The composite center — the center, allowing to control attention of the spectator.
In composite center not is mandatory there should be something principal and significant. The composite center, generally speaking, isn’t intended for disclosure or accentuation of the main idea of the image (though can be used for this purpose). The Main tasks at it — others. At first, it promotes composition formation as single whole (doesn’t allow to a picture to collapse on components). Secondly, it retains attention of the looking. The spectator can long consider a pattern, thus in composite center its attention will be repeatedly returned. It is the original magnet permanently attracting a look. Making visual traveling on a picture plane, the spectator often begins routes with composite center and in it and is returned.
The composite center is available even for the abstract patterns and the formal images, for example, at a pattern on wall-paper.
The composite center is formed by not so much object or its semantic parts, how many the formal image elements: points, dashes, stains, color, invoices, pointers, lines, etc.
The composite center is not always a point. It can be presented some stretched area. For example, on portraits en face in overwhelming majority of cases eyes will be such center. And it is senseless to specify: right, left or a point in between?
Sometimes the image can contain some composite centers. For example, them can be two: principal and minor. For portraits the fullface one more composite center (besides eyes) can be a front sight on the person [3].
If in the image the composite center misses, the spectator has nothing to stop a sight. At the best it it is indifferent will stop review and at once will forget the image. In the worst — will sicken and for a long time will like the negative emotions. Therefore the beginning author should realize solid: the composite center should be always.
3. The subject (semantic) center is the center containing a principal or important subject element (or group of elements).
Answers to questions are often connected to subject center: about what the given product? What did the author want to tell? What is the most significant in the image? Who the protagonist of a plot?
The subject center can coincide with composite, and can and to be separated spatially from it. Alexander Lapin states [6] that «In case of coincidence of eyes comes to understanding of an essence represented at once, he isn’t tired with the minor details which can be considered and then. Such composition is most economic and clear». It is difficult to agree With it. Functions at subject and composite centers different, and, hence, their diversity in space isn’t so mandatory leads to necessity to consider the minor details. In more details this question will be considered more low at the analysis of examples. Unambiguously understood essence (clearness) is generally more soon a good wish and-or illusion. To calculate for identical understanding of an essence all — it is naive. Moreover, the greatest works of art are those just because they aren’t so unambiguous, as arithmetics textbook.
When subject and composite centers coincide, it is accepted to speak about uniform sjuzhetno-composite center.
On the area the subject center can exceed the composite considerably. Can be and so that the area of subject center will occupy an essential part of all image (for example, in some group portraits).
Subject centers as well as composite, can be a little. However to abuse this rule doesn’t follow. In overwhelming majority of cases it is more reasonable to adhere to the recommendation: one image — one plot. Other possible alternative: to make one subject center the main thing, and the second — minor, subordinated.
In abstract (and some other) compositions the subject center can miss at all. Refusing explicit subject center (but not from the composite!), the author gives the chance to the spectator most to be defined with a plot. To Someone it can it will be pleasant. And someone will shrug shoulders and will tell: «I will not understand, about what it? What did the author want to tell?» Sometimes in such cases the composite center automatically starts to play a role of the subject. Therefore to the beginning author it is necessary to think over properly in absence of an explicit plot the formal composite elements, including center (centers).
George Kolosov recommends «… to give to semantic center luminous accent that, by the way, is the first composite principle светописи» [4]. In a photo such accent can be made also at the expense of control of depth of sharply represented space.
One of basic rules of the photographer, the painter, the designer and etc. could be formulated so: it is not necessary to neglect the realized formation composite and, if needed, and subject centers. Both that, and another are very important elements influencing perception.
III.
Enough boring theory. We will pass to the analysis of examples.
At arguing of composite centers most often consider following picturesque cloths: «Resetting of the prodigal son» Rembrandt ван Rhine, «the Sikstinsky Madonna» Raphael Santi, «Ivan the Terrible kills the son» Ilya Repin, etc. At desire the reader without special difficulties can find these which have already become classical, examples of the analysis in the literature.
Here it would be desirable will stop on other examples, namely: on cases when centers happens a little.

As the first example we will consider the genre scene represented by the artist Caravaggio on a pattern “Fortuneteller” (fig. 2). This cloth is interesting in many respects. For example, thanks to it we can judge how the European gipsies in the end of XVI century looked. By the way, there is a conjugate pattern with the same title, but it is stored not in Paris, and in Rome. If you are interested in painting, the author safely recommends to you to get acquainted with these operations more close … Here let’s pass to the analysis of composite centers.

Compositely figures of the gipsy and its young client are equivalent. It allows to draw an output about presence here two absolutely equivalent composite centers: eyes of the girl and an eye of the young man. Sights of characters are directed against each other, and at the expense of it the attention of the spectator doesn’t abandon a pattern. On the contrary, in focus alternately there is that girl’s face, the person of the young man.

And where there is a subject center of this pattern? It is allocated in the lower part of the image. These are hands of the gipsy and the right hand of its client. I will remind: the semantic center is connected to a plot. And a plot of the given pattern is the guessing expressed through a texture of hands.

The triangle generated two composite and one semantic center creates the finished integral composition.

Whether allows to judge unambiguously set of the revealed centers, what this pattern? Alas, no. A row of researchers state that the theft moment here is embodied. The gipsy a look distracts attention of the young man, and in the meantime pulls down from its finger перстенёк. About it tells the characteristic gesture of its right hand. Other researchers don’t see here any crime and state that it is simply genre sketch constructed on contrast “poor man-rich man”. Presence of different treatments at all doesn’t belittle significance of this operation. On the contrary, it testifies more soon to talent and skill of its author.

Whether you can offer the understanding of a plot? More safely! Perhaps, your variant will appear the most interesting.

Now, «without abandoning Louvre», we will pass to other pattern interesting from the point of view of composite centers.

Fig. 3. Гюбер (Юбер) Rober. The bridge. (Hubert Robert. Pont du Gard.) Louvre.

On a pattern of Robera (fig. 3) is shown the majestic Garsky bridge (Pon-dju-Gar) representing a fragment of an aqueduct constructed by ancient Romans. This architectural creation has reached up to now. And, if you can visit Provence, to Pon-dju-Gar you can safely include visit in your cultural program.

Semantic (subject) center here, of course, is the bridge. After all it is principal “character” of a canvas. Pay attention: semantic center here — not a point, and stretched enough band of an aqueduct.

And where composite centers? What retains here our attention?

Try mentally (or if there is a desire, by means of Photoshop) to delete from a cloth a boat and all figures of people. The image becomes at once boring. The sight will slip on a canvas and, without having found a uniform islet of heterogeneity, will aspire to escape for limits of a picture plane.

That it didn’t happen, the artist has entered into the image of group of people the lobby from which incurs function of composite center. Figures of people and the animals, entered into a composition for formation of visual centers of perception, name стаффаж (it. Staffage). For a plot and sense these figures are minor, but for the finished integral composite creation their importance is very great.

The inference

So, composite centers should be present anyhow on any art image. The neglect or an intended failure from observance of this rule invariably leads to appearance of operations boring and inexpressive.

According to the author of these lines, the composition organic law also consists in it.

Shine “of «gold” section

написано в рубрике: Books, Review — Метки: , — admin @ 12:06
Page 1 of 512345
I. Introduction
“The gold” proportion concerns fundamental constants which are known to mankind from time immemorial.
Realization of certain versatility of this constant has arisen in the beginning of XVI century when the Italian mathematician Luka Pacholi close familiar with Leonardo da Vinci, has published the treatise «the Divine proportion. The book rather useful to mind everyone penetrating and thirsting for knowledge from which everyone engaged in philosophy, perspective, painting, a sculpture, architecture, music or other mathematical subjects can acquire pleasant, witty and surprisingly worthy convergence and finds entertainment on different questions and the most confidential knowledge». This treatise paid attention for the first time of the reader that a ratio known as “gold” section, it is possible to meet in the most various areas and disciplines.
In the XX-th century interest to “gold” section has sparked with new force. This surprising constant have found out both in the physicist, and in biology, both in economy, and in many other sciences. On it as on the general-purpose measure of harmony, often refer in the fine arts, including a photo.
In this small article attempt to pay attention of the reader on rarely mentioned properties of “gold” section is undertaken. Also here some adjacent questions of an esthetics and philosophy will be affected.
II. It is a little mathematics
“The gold” proportion is such division whole two unequal parts at which the most part so concerns to smaller as whole concerns to большей:
b / a = (a + b) / b
The decision of this equation rather b / a gives:
Ф = b / a = 1,61803398 …
Sometimes operate with reciprocal value:
a / b = 1 / Ф = Ф – 1 = 0,61803398 …
The exact decision in radicals looks as follows:
III. “Gold” section and composition bases
In a photo, the schedule and painting often recommend to use “gold” section for composition creation. At such approach all area of the image breaks lines of “gold” section into nine areas (fig. 1А see).
Fig. 1.
A.Setka of “gold” section: 0,618/0,382
V.Setka of “thirds”: 1/3; 2/3; 1
Key elements of a composition (etc.) are recommended to be allocated important details, composite centers, a horizon line on lines of “gold” section or in points of their intersection. In a photo it is a rule often simplify to «a rule of thirds». According to this rule instead of a grid of “gold” section it is recommended to use a grid dividing the linear image sizes on equal thirds (fig. 1В).
Here pertinently to make three comments:
1. In spite of the fact that the number 1/Ф differs from two thirds less than on 8 %, visual impressions of a grid And and from a grid In differ appreciably. It more than is visually visible from fig. 1. Further also it will be shown that lines of thirds are much closer to following S-section, instead of to principal “gold” section. Generally speaking, the recommendation to recede from “a gold” proportion in favor of “a rule of thirds» as a matter of fact often happens is equivalent to council: «don’t allocate object at center; drift it to edge, and value of offset select on the taste». As a rule, the majority of photographers use this generalized recommendation, instead of any strict rule.
2. Any of 1 grids shown on fig. doesn’t consider known bottom weighting effect, visually shown in article «the Notice of a passe-partout. To a question on design of photooperations» (section «About harm of symmetry»). The recommendations based on the registration of this effect, speak about “weighting” of the lower part of the image in much smaller measure, than “a gold” proportion. Differently, it is obvious that at composition creation it is impossible to be guided by only “gold” section. It is rather useful to take into consideration and other factors.
3. Layout of significant elements at composition center too can be quite justified at the decision of art tasks. As an example it is possible to result layout of a line of horizon on a pattern of Savrasova «Rooks have arrived» (the Gestalt-therapy Session see also article «. Some words about idea of a work of art»). Besides, (real or imagined) which halve the image, it is possible to treat lines as «the generalized golden ratios of the zero order» about what it will be told more low in more details.
IV. The Generalized “gold” sections
The formula for obtaining of the generalized S-proportions (sometimes named also the generalized “gold” p-sections) is rather similar to a basic formula of the traditional approach. Difference only one: the right member of equation is raised in level S:
b / a = ((a + b) / b) s, where S = 0,1,2,3,4 …
For various values S from this formula it is possible to receive value of the generalized S-section. If to designate (a + b) / b = y to case S = 0 there corresponds segment division in halves (y0 = 2). To case S = 1 there corresponds traditional “gold” section: y1 = 1,618 … From the same equation it is possible to find values of the generalized S-sections for S> 2.
It is possible it is possible, but whether it is necessary? Such question often sets people with critical mentality, but far from mathematics. Whether is the concept of S-sections far-fetched mathematical abstraction? What grants to us is right to consider roots of the considered equation at S> 2 also “gold”?
The answer to these questions is that. In the mathematician there are the numbers bearing a name of the Italian mathematician Fibonacci, known also as Leonardo Pizansky. These numbers, besides other, are interesting to that the relation of two adjacent numbers approximately to equally “gold” proportion, and this equality the more precisely, than more numbers. In a mathematical language this thought formulate so: the relation of two adjacent numbers Fibonacci aspires in a limit to “a gold” proportion. But numbers Fibonacci are only a special case of the more general sequence of S-numbers Fibonacci. And the relation of adjacent S-numbers just and to aspire in a limit to “the gold” S-proportion defined by the above-stated algebraic equation.
Differently, if one of private sequences is connected to “gold” section it is quite reasonable to assume that in the more general case it is possible to receive complete set of “gold” numbers.
Fig. 2. A grid of “gold S-sections» (S = 0 … 7).
(By dark blue color lines of “a grid of thirds» are shown;
The green dotted line corresponds to “gold S-section» at S = 30)
On fig. 2 the square with put by the first восемью “gold” S-sections (S = 0 … 7) plus the sections corresponding S = 30 (a green dotted line) is shown. Apparently from a picture, with growth S the grid tends to cover more densely and more densely all peripheral zones of the image. A consequence of it is very simple output: if object (a detail, an element, etc.) to allocate with edge it almost гарантированно will get on intersection of the S-sections corresponding to enough great values S.
Certainly, value of the generalized sections at big S isn’t so great. But at the same time, it is impossible and to deny that the very often principal objects allocated with edge of a pattern, a photo and etc. look very organically.
If on fig. 2 to add a grid corresponding S> 7, paling of lines practically will close all areas adjoining to edges of the image. Only it will be possible to find rather empty areas in image center. But also they can be used for layout of significant elements provided that in other zone the object equilibrating them will be allocated. Thus the general composite center can be placed on intersection of any generalized S-sections.
It is necessary to pay attention also that «a grid of thirds» (it is shown on fig. by 2 dark blue color) much more close to the lines corresponding S = 2, instead of to lines of the main “gold” section (S = 1). Probably, it is one more explanation of that fact that the compositions constructed on the basis of a rule of thirds, look was quite harmonic.
One important output follows from all aforesaid: if to lean against the concept of the generalized “gold” sections it will be necessary to recognize that in a rectangle generally practically there are no the areas which are not approaching for layout of any important semantic detail. The general perception of the image is defined not only and not so much “gold” sections, but, mainly, other rules of a composition (balance, driving, etc.). With an ulterior motive in some most interesting monographies devoted to rules of a composition in the fine arts, “the gold” section isn’t mentioned at all.
For example, Vasily Kandinsky in the operation «the Point and a line on a plane» expresses formulas and numbers quite definitely: «the Formula is similar to glue. It is similar also to a sticky tape from the flies which victims the careless fall. The formula is also the club seat concluding the person in the warm embraces. But, on the other hand, aspiration to be released from a vice — a premise for following jerk: to new values and as a result — to new formulas. And formulas die and are replaced again born».
V. And all that jazz
There are no doubts that “the gold” proportion is the important constant figuring in the decision of many application-oriented tasks. That fact is obvious also that this ratio can be found out during various experimental researches.
But, unfortunately, cases when the presented facts look not too convincingly are frequent also.
Surprisingly, but the fact: “gold” proportion Ф and number «пи», делённое on two, differ among themselves less than on 3 % (1,61803398 … and 1,57079632 … accordingly). Therefore about very many cases, it is possible to tell that in product, object or a natural phenomenon number Ф, and number «пи» is ciphered at all.
To take, for example, the famous portrait of Mony Lizy of operation Leonardo da Vinci (fig. 3).
Some researchers in particular state that the person of the represented lady in this case can be inscribed in a rectangle, at which relation of the sides to equally “gold” section. But in the right part of a pattern person Mony Lizy smoothly fades into the background. Therefore in this case the person of model can be concluded easily and in a rectangle, at which a ratio of the sides equally «пи

I. Introduction
“The gold” proportion concerns fundamental constants which are known to mankind from time immemorial.
Realization of certain versatility of this constant has arisen in the beginning of XVI century when the Italian mathematician Luka Pacholi close familiar with Leonardo da Vinci, has published the treatise «the Divine proportion. The book rather useful to mind everyone penetrating and thirsting for knowledge from which everyone engaged in philosophy, perspective, painting, a sculpture, architecture, music or other mathematical subjects can acquire pleasant, witty and surprisingly worthy convergence and finds entertainment on different questions and the most confidential knowledge». This treatise paid attention for the first time of the reader that a ratio known as “gold” section, it is possible to meet in the most various areas and disciplines.
In the XX-th century interest to “gold” section has sparked with new force. This surprising constant have found out both in the physicist, and in biology, both in economy, and in many other sciences. On it as on the general-purpose measure of harmony, often refer in the fine arts, including a photo.
In this small article attempt to pay attention of the reader on rarely mentioned properties of “gold” section is undertaken. Also here some adjacent questions of an esthetics and philosophy will be affected.
II. It is a little mathematics
“The gold” proportion is such division whole two unequal parts at which the most part so concerns to smaller as whole concerns to большей:
b / a = (a + b) / b
The decision of this equation rather b / a gives:
Ф = b / a = 1,61803398 …   Sometimes operate with reciprocal value:
a / b = 1 / Ф = Ф – 1 = 0,61803398 …
The exact decision in radicals looks as follows:

III. “Gold” section and composition bases
In a photo, the schedule and painting often recommend to use “gold” section for composition creation. At such approach all area of the image breaks lines of “gold” section into nine areas (fig. 1А see).

Fig. 1.A.Setka of “gold” section: 0,618/0,382 V.Setka of “thirds”: 1/3; 2/3; 1   Key elements of a composition (etc.) are recommended to be allocated important details, composite centers, a horizon line on lines of “gold” section or in points of their intersection. In a photo it is a rule often simplify to «a rule of thirds». According to this rule instead of a grid of “gold” section it is recommended to use a grid dividing the linear image sizes on equal thirds (fig. 1В).
Here pertinently to make three comments:
1. In spite of the fact that the number 1/Ф differs from two thirds less than on 8 %, visual impressions of a grid And and from a grid In differ appreciably. It more than is visually visible from fig. 1. Further also it will be shown that lines of thirds are much closer to following S-section, instead of to principal “gold” section. Generally speaking, the recommendation to recede from “a gold” proportion in favor of “a rule of thirds» as a matter of fact often happens is equivalent to council: «don’t allocate object at center; drift it to edge, and value of offset select on the taste». As a rule, the majority of photographers use this generalized recommendation, instead of any strict rule.
2. Any of 1 grids shown on fig. doesn’t consider known bottom weighting effect, visually shown in article «the Notice of a passe-partout. To a question on design of photooperations» (section «About harm of symmetry»). The recommendations based on the registration of this effect, speak about “weighting” of the lower part of the image in much smaller measure, than “a gold” proportion. Differently, it is obvious that at composition creation it is impossible to be guided by only “gold” section. It is rather useful to take into consideration and other factors.
3. Layout of significant elements at composition center too can be quite justified at the decision of art tasks. As an example it is possible to result layout of a line of horizon on a pattern of Savrasova «Rooks have arrived» (the Gestalt-therapy Session see also article «. Some words about idea of a work of art»). Besides, (real or imagined) which halve the image, it is possible to treat lines as «the generalized golden ratios of the zero order» about what it will be told more low in more details. IV. The Generalized “gold” sections
The formula for obtaining of the generalized S-proportions (sometimes named also the generalized “gold” p-sections) is rather similar to a basic formula of the traditional approach. Difference only one: the right member of equation is raised in level S:
b / a = ((a + b) / b) s, where S = 0,1,2,3,4 …
For various values S from this formula it is possible to receive value of the generalized S-section. If to designate (a + b) / b = y to case S = 0 there corresponds segment division in halves (y0 = 2). To case S = 1 there corresponds traditional “gold” section: y1 = 1,618 … From the same equation it is possible to find values of the generalized S-sections for S> 2.
It is possible it is possible, but whether it is necessary? Such question often sets people with critical mentality, but far from mathematics. Whether is the concept of S-sections far-fetched mathematical abstraction? What grants to us is right to consider roots of the considered equation at S> 2 also “gold”?
The answer to these questions is that. In the mathematician there are the numbers bearing a name of the Italian mathematician Fibonacci, known also as Leonardo Pizansky. These numbers, besides other, are interesting to that the relation of two adjacent numbers approximately to equally “gold” proportion, and this equality the more precisely, than more numbers. In a mathematical language this thought formulate so: the relation of two adjacent numbers Fibonacci aspires in a limit to “a gold” proportion. But numbers Fibonacci are only a special case of the more general sequence of S-numbers Fibonacci. And the relation of adjacent S-numbers just and to aspire in a limit to “the gold” S-proportion defined by the above-stated algebraic equation.
Differently, if one of private sequences is connected to “gold” section it is quite reasonable to assume that in the more general case it is possible to receive complete set of “gold” numbers.

Fig. 2. A grid of “gold S-sections» (S = 0 … 7).(By dark blue color lines of “a grid of thirds» are shown;The green dotted line corresponds to “gold S-section» at S = 30)   On fig. 2 the square with put by the first восемью “gold” S-sections (S = 0 … 7) plus the sections corresponding S = 30 (a green dotted line) is shown. Apparently from a picture, with growth S the grid tends to cover more densely and more densely all peripheral zones of the image. A consequence of it is very simple output: if object (a detail, an element, etc.) to allocate with edge it almost гарантированно will get on intersection of the S-sections corresponding to enough great values S.
Certainly, value of the generalized sections at big S isn’t so great. But at the same time, it is impossible and to deny that the very often principal objects allocated with edge of a pattern, a photo and etc. look very organically.
If on fig. 2 to add a grid corresponding S> 7, paling of lines practically will close all areas adjoining to edges of the image. Only it will be possible to find rather empty areas in image center. But also they can be used for layout of significant elements provided that in other zone the object equilibrating them will be allocated. Thus the general composite center can be placed on intersection of any generalized S-sections.
It is necessary to pay attention also that «a grid of thirds» (it is shown on fig. by 2 dark blue color) much more close to the lines corresponding S = 2, instead of to lines of the main “gold” section (S = 1). Probably, it is one more explanation of that fact that the compositions constructed on the basis of a rule of thirds, look was quite harmonic.
One important output follows from all aforesaid: if to lean against the concept of the generalized “gold” sections it will be necessary to recognize that in a rectangle generally practically there are no the areas which are not approaching for layout of any important semantic detail. The general perception of the image is defined not only and not so much “gold” sections, but, mainly, other rules of a composition (balance, driving, etc.). With an ulterior motive in some most interesting monographies devoted to rules of a composition in the fine arts, “the gold” section isn’t mentioned at all.
For example, Vasily Kandinsky in the operation «the Point and a line on a plane» expresses formulas and numbers quite definitely: «the Formula is similar to glue. It is similar also to a sticky tape from the flies which victims the careless fall. The formula is also the club seat concluding the person in the warm embraces. But, on the other hand, aspiration to be released from a vice — a premise for following jerk: to new values and as a result — to new formulas. And formulas die and are replaced again born».
V. And all that jazz
There are no doubts that “the gold” proportion is the important constant figuring in the decision of many application-oriented tasks. That fact is obvious also that this ratio can be found out during various experimental researches.
But, unfortunately, cases when the presented facts look not too convincingly are frequent also.
Surprisingly, but the fact: “gold” proportion Ф and number «пи», делённое on two, differ among themselves less than on 3 % (1,61803398 … and 1,57079632 … accordingly). Therefore about very many cases, it is possible to tell that in product, object or a natural phenomenon number Ф, and number «пи» is ciphered at all.
To take, for example, the famous portrait of Mony Lizy of operation Leonardo da Vinci (fig. 3).

Some researchers in particular state that the person of the represented lady in this case can be inscribed in a rectangle, at which relation of the sides to equally “gold” section. But in the right part of a pattern person Mony Lizy smoothly fades into the background. Therefore in this case the person of model can be concluded easily and in a rectangle, at which a ratio of the sides equally «пиCertainly, Leonardo was close familiar with Pacholi, and, for certain, “the gold” section to it was closer than number «пи» … All so … But any categorical statements here are inappropriate. In this case better simply to enjoy operation of the master of painting, instead of to attach to a cloth a ruler and a compasses.

Fig. 3.

Leonardo da Vinci. Mona Liza.

Very often there is a statement that in a pyramid of Heopsa two world constants are simultaneously put: number «пи» and “a gold” proportion. Partly it is true. But here pertinently to make a small stipulation. If we select the sizes of a pyramid such that the relation of semiperimeter of the base to height will be equal «пи»:

- At first, the relation of height of a lateral face to half of length of the edge lying in the base, will be automatically equal 1,618993 …;

- Secondly, the received number, of course, is very close to “gold” proportion Ф, but exact equality in between isn’t present and can’t be (fig. 4) see.

Fig. 4. Numerical ratios in a pyramid of Heopsa

Apparently, number X isn’t equal in accuracy to number Ф

(Though coincides with it in the first signs).

On this base it is quite possible to state, for example, that in a proportion of a pyramid of Heopsa one of world constants has been put only. The second has appeared there automatically (simply owing to characteristic for a pyramid of geometrical ratios). But, of course, it is impossible to eliminate and what such property of a pyramid has formed the base for its choice as a tomb of Pharaohs.

The formula resulted on fig. 4, is one more expression for approximate calculation of a “gold” proportion through number «пи». (First approximation is as it has already been told, «пи in halves».) But it is not necessary to conclude on this base that “the gold” proportion and number «пи» have the close essence for this proportion isn’t less related also to other famous constant: Euler’s number e = 2,71828 … As a first approximation can tell that «е» it is approximately equal Ф2.

In a sense even it is possible to state that Ф on the most essence it should be close to Euler’s number as “golden ratio” is tightly connected to numbers Fibonacci, and those, in turn, appear in the known task «about reproduction of rabbits». But also the number «е» too rather often meets in tasks about rise processes (or decreases). To this fact pays attention, for example, Walter Orlov.

If «пи in halves» is quite good approach for “a gold” proportion from below «the root from е» is approximately the same approach on accuracy on top. Owing to the above, very often it is difficult to judge with definiteness what of three world constants is present at this or that object or the phenomenon: «пи», «е» or Ф.

Links to “gold” section often meet at the description of various fonts. But in an explicit form this ratio manages to be found in fonts no means always. More often in fonts the auxiliary proportions received from summation of various segments, received, in turn, on the basis of “gold” section are used. But in such cases hardly it makes sense to focus attention to communication of a font with “a gold” proportion as almost any number can be expressed in numeration system with base Ф (sm, for example, Bergman G., «A number system with an irrational base» [5]).

Fig. 5. Letter S

Inquisitive readers, for example, can look for traces of “a gold proportion» in letter S represented on fig. 5. Already mentioned bottom weighting effect here it is found out at once. And here signs of a “gold” proportion — aren’t so explicit and obvious.

All aforesaid at all doesn’t mean that all certificates and the facts, concerning numbers «е», «пи» and Ф — not that other as jugglings! At all isn’t present! But certain care by reviewing of such facts is absolutely necessary. It is not necessary to take on trust any mere allegations.

VI. Harmony and its measure

It is surprising, as many people are ready to recognize a certain mathematical constant as general-purpose (and even divine!) harmony measures! But whether it is possible and whether it is necessary to refuse the free creativity in favor of mathematical predefiniteness?

“The gold” section — isn’t so much measure of universal harmony, how many proportion of universal expediency (and it is equal in the same measure validly and for other world constants). And in this sense its divine essence to deny difficultly. In the harmony and esthetics relation, the author makes bold to suppose that the human soul and its secret motions don’t give in to the strict description within the limits of any mathematical model.

In theology frames generally strange to assimilate the person to the robot subordinated entirely to mathematical ratios for in this sense it is more reasonable to look at the person as on result of creation just like God. And in this case, the person can’t refuse “free will” as it is initially inherent in a human soul.

Certainly, there are cases when the expediency and harmony coincide. With an ulterior motive aircraft designer A.N.Tupolev considered that beautiful planes fly is better. But, unfortunately, such coincidence happens not always.

In applied sciences all is subordinated mainly expediency. There the role of “gold” section, and also other world constants, is conclusive. In art on the foreground more than often there are norm fluctuations and consequently for art “the gold” section can be only initial reference point. The task of the scientist and the engineer — strictly to observe nature laws. The task of the artist — an introduction in norms of successful fluctuations (deviations). A science, remaining in frames of laws, says to us that can be. Art is more connected to soul of the creator, than with a reality. Therefore so cases when in art there are the special worlds connected to a reality only separate (let even numerous) by details are frequent.

Retreats from nature laws in the technician are simply harmful — the device constructed with deviations from laws of natural sciences, and will work worse (and, can, and at all won’t be), and its efficiency will be not great. In art the chance to practice in what isn’t present is given to the person and can’t be. And the purpose of these exercises at all that they have direct practical favor, and that they promote development of the person, give it fine possibility to train own reason and to change the soul.

In the mathematician too often operate with what isn’t present in a reality. For example, operate with “imaginary unit» and etc. But it only proves that fact that the science and art often are in correlations and their any sharing — the conditionality giving only convenience to logical creations.

To find universal formulas of harmony — the task empty. It all the same what to train the computer in creativity: let-de supposedly writes music, composes verses and writes patterns. However, and in such products, the person can find favor and sense for the present work of art is born twice: the first time in a head and hands of the creator, and the second time in a head at the spectator, the listener, etc. But more than often computer masterpieces quickly become boring and наскучивают. The person searches for improvisings, and doesn’t find it. And product becomes in perception plane, «deprived of soul».

For this reason never it will be impossible to replace music execution by the good musician with machine execution. The machine will execute product absolutely precisely that is how it is written down in notes. The person will always introduce mass of the new nuances which are based on trembling of its own soul in live execution. And in these tiny nuances — a essence of creativity, that is implementation of the possibilities (potentials) given to the person from a birth.

Dangerous illusion: the fine arts can learn. Yes, it is possible to learn about “gold” section and composition bases. Yes, it is possible to study technics and tools. It is possible even to create on this basis something sound and interesting to others for as already it has been told above, the second time art is born in a head at the spectator. But a subject of original Art so not to create! It can appear only in tiny nuances, accents and deviations from norm. To teach it it is impossible. It can arise wonderfully only in a shower of the person-creator. It also is that “slightly” about which Charles Bryullov spoke.

To really significant work of art it would be desirable to be returned again and again: the book — to re-read, to music — once again to listen, at a pattern — once again to look. Thus in each new meeting new details, nuances and subtleties will open. Similar art rarely is born by means of compasses, a ruler and the calculator.

Therefore any original training should imply not only comprehension of a dial-up of the known facts and not only acquisition of necessary skills, but also perfection of soul of the trained.

VII. The Inference

The author wouldn’t like at all that this article would be considered as a thesis refutation about “gold” section as about a harmony measure. To tell on truth, to the author no ready recipes and indisputable truths concerning art are absolutely not known. Therefore the given text can’t is argument neither pro, nor contra.

Think and feel! Don’t allow soul to be lazy! Don’t hope to receive ready recipes neither from the author of this article, nor from someone another. These simple and even banal trues as well as possible approach for end of article about brightness of “gold” section.

Whether and it is necessary to kill a dragon?

написано в рубрике: Books — Метки: — admin @ 11:55
Page 1 of 512345
In any work of art the factor рукотворности is very important. In operations of the artist this most рукотворность is ordinary visible rather accurately. It is not important, whether we deal with color (painting by oil) or with its absence (graphic operation by coal) – anyway рукотворность is explicitly felt as the spectator. Explicitly perceptible рукотворность facilitates art criticism process атрибуции a work of art.
Absolutely other business – a photo. It enough технична inherently. Looking at a finite photographic print, to define its author it is much more difficult. Very often photo too well transfers a reality and too successfully hides authorship. Differently, it carries not too many signs рукотворности, understood here as expression of authoring individuality.
In a photo the failure from color in favor of the black-and-white image is one of methods though somehow to recover almost lost рукотворность. Usage of special techniques (for example, shooting by a monocle) also направленно on the decision of this task.
For this reason the black-and-white photo in many cases also is perceived as more art. In it authoring leaving from exceptional documenting of a reality in favor of art рукотворности is more accurately designated.
As though art didn’t remind a reality (we will tell, for the account addition of the traditional plane image with dimensions, осязательностью, smells and so forth), it always only remains reality simulation; and, the simulation received as a result of authoring interpretation. Authors use a reality simply as one more tool for own self-expression. And, in a photo, likely, – as in any other art form.
This fact clearly is realized and at level of the spectator, the listener, etc. As Alexander Sergeevich Pushkin hasn’ted: «Over fiction by tears I will have a shower bath». At the moment of perception explicitly realized fiction wonderfully will be transformed to reality illusion. But to replace fiction with a reality it is impossible, for it and is наисущественнейший an art component. It wouldn’t accept what form.
If art can repeat a reality in accuracy – it will cease to be art and itself becomes only a reality part. Having killed a dragon, it becomes (will be forced to become) a dragon. In a photo the failure, for example, from color is one of possible types of natural resistance to process of such transformation.
* * *
It is not necessary to perceive all aforesaid, as protection of art against a reality. The reality isn’t less fine, surprising and волнующа. Therefore nobody can be responsible for you on a question «and whether it is necessary to kill a dragon?». You should find the answer. What it was, without a dragon we don’t remain.

In any work of art the factor рукотворности is very important. In operations of the artist this most рукотворность is ordinary visible rather accurately. It is not important, whether we deal with color (painting by oil) or with its absence (graphic operation by coal) – anyway рукотворность is explicitly felt as the spectator. Explicitly perceptible рукотворность facilitates art criticism process атрибуции a work of art.
Absolutely other business – a photo. It enough технична inherently. Looking at a finite photographic print, to define its author it is much more difficult. Very often photo too well transfers a reality and too successfully hides authorship. Differently, it carries not too many signs рукотворности, understood here as expression of authoring individuality.
In a photo the failure from color in favor of the black-and-white image is one of methods though somehow to recover almost lost рукотворность. Usage of special techniques (for example, shooting by a monocle) also направленно on the decision of this task.
For this reason the black-and-white photo in many cases also is perceived as more art. In it authoring leaving from exceptional documenting of a reality in favor of art рукотворности is more accurately designated.
As though art didn’t remind a reality (we will tell, for the account addition of the traditional plane image with dimensions, осязательностью, smells and so forth), it always only remains reality simulation; and, the simulation received as a result of authoring interpretation. Authors use a reality simply as one more tool for own self-expression. And, in a photo, likely, – as in any other art form.
This fact clearly is realized and at level of the spectator, the listener, etc. As Alexander Sergeevich Pushkin hasn’ted: «Over fiction by tears I will have a shower bath». At the moment of perception explicitly realized fiction wonderfully will be transformed to reality illusion. But to replace fiction with a reality it is impossible, for it and is наисущественнейший an art component. It wouldn’t accept what form.
If art can repeat a reality in accuracy – it will cease to be art and itself becomes only a reality part. Having killed a dragon, it becomes (will be forced to become) a dragon. In a photo the failure, for example, from color is one of possible types of natural resistance to process of such transformation.
* * *
It is not necessary to perceive all aforesaid, as protection of art against a reality. The reality isn’t less fine, surprising and волнующа. Therefore nobody can be responsible for you on a question «and whether it is necessary to kill a dragon?». You should find the answer. What it was, without a dragon we don’t remain.

Gestalt-therapy session

написано в рубрике: Books, Tips — Метки: , — admin @ 11:51
Page 1 of 512345
Dear reader! I would not like to conceive ещ ё one long philosophical discussion of a question at all, art product, concerning idea. Instead of it I shall try to help you to develop сво ё own understanding of this question. Welcome on a remote session of гештальт-therapy!
* * *
Look on репродукцию of a known picture А.К. Саврасова « Грачи have arrived(flied) » (1871). See on not ё closely(attentively). Wait, while at you any feelings and – or ideas will appear.
Now try independently to answer the following questions. What for artist has switched on in the image колокольню? About what speak wooden structures without windows? In what of symbolism of an arrival грачей? What feelings arise at you at a sight on this picture? What basic idea of product? In what his(its) sense?
The practising photographers – fans are offered to answer on some additional questions. Whether:-) It is good, what the line of horizon divides a picture practically half-and-half? Whether takes away ветка from the left border of a picture the too large share of spectator attention?
Have answered questions? Have formulated сво ё opinion? Fine! Now postpone clause, rise, resemble on a room, then again come back to reading.
С.М. Сандомирский writes: « the Sense of a picture is simple. The people behind a dark deaf(indistinct) fence and in low houses are far from any spiritual inquiries. Служители of church already rise above every day fine businesses (above horizon a little), and звонница, as устремления in religious ideas, rises even above, grasping the large piece of the sky, but to make the way to light clouds and pure(clean) sky be unable. And only birds not only fly in the clear light sky of spirit, but live in the high sky, — this place of their daily stay ».
Again rise, is sensitive разомнитесь. If at you is кот, stroke it(him) and scratch at him(it) for ухом. If кота at you no, it is possible, for example to scratch an own nape. Now we shall continue.
Now, from your permission, I shall state to you the version of idea of this picture. The sense of a picture is simple. The circulation of life has made the next coil. Грачи have returned. Ещ ё the snow, ещ ё the sky of full свинцово-winter shades has not thawn, but грачи are already engaged in construction of jacks. We cost(stand) on пригорке and we look вдаль. In the early spring something щемяще-shrill is felt in air. And on a background by this пронзительности we feel loneliness. And hope. Е ё to us gives not thawing of snow, and not a kind church колокольни вдалеке, and especially not ordinary contours of sheds on the average plan. We feel е ё through an arrival of birds. Whether we are similar also to these birds? Whether our life same is also vain круговертью of events: every time repeating and every time completely another?
Compare own interpretation to what speaks Сандомирский about and about what I speak. Again rise. Approach to a window. See вдаль. If to read further reluctance, do not read. To what itself to force? Empty …
If you вс ё have decided(solved) to read further, welcome back.
One of ancestors of гештальт-therapy Фриц Перлс (Fritz Perls) just has noticed: « … we do not analyze. We simply perceive completely » (« … we are not analyzing. We are just integrating »). See at the interpretation and on the above mentioned versions from this point of view. That in them it is more than? The analysis or complete perception(recognition)? Can, there is ещ ё something very important? And something can not less important is absent in all versions (including yours own)?
Again look on репродукцию of a picture. Unless can all these words (including yours own) replace alive perception(recognition) of art product? If the idea of a picture also exists, whether that in a condition we е ё вербализовать? What for to us verbal senses? What for to us in general idea? Answer to itself the put questions.
Make a deep breath – exhalation. Be weakened. Smile. The session is finished. Thanks.
* * *
Epilogue, not obligatory for a perusal
1. Question for self-checking: whether you have caught the basic idea of my text? If yes, in what she consists? Generally, I wanted only to stimulate your own process of thinking – perception. No more that. If you have found in this text any other ideas, know: it is faster your own ideas, instead of mine. Such result — the quite normal phenomenon (consequence of successful гештальт-therapy).:-)
2. It is possible to see at a problem of idea of art product and a little in another way. In physics there is such piece, as « a principle дополнительности Бора ». On my sight, it(he) can be distributed and to art (quite probably, that I not first, whom have come in a head such idea). In art this principle could be formulated as follows: any interpretations of idea of art product are not mutually exclusive — all of them only supplement each other. If вс ё stated has left at you feeling of an easy irritation, above that, can, such approach will return to you the lost calmness.

Dear reader! I would not like to conceive ещ ё one long philosophical discussion of a question at all, art product, concerning idea. Instead of it I shall try to help you to develop сво ё own understanding of this question. Welcome on a remote session of гештальт-therapy!
* * *
Look on репродукцию of a known picture А.К. Саврасова « Грачи have arrived(flied) » (1871). See on not ё closely(attentively). Wait, while at you any feelings and – or ideas will appear.
Now try independently to answer the following questions. What for artist has switched on in the image колокольню? About what speak wooden structures without windows? In what of symbolism of an arrival грачей? What feelings arise at you at a sight on this picture? What basic idea of product? In what his(its) sense?
The practising photographers – fans are offered to answer on some additional questions. Whether:-) It is good, what the line of horizon divides a picture practically half-and-half? Whether takes away ветка from the left border of a picture the too large share of spectator attention?
Have answered questions? Have formulated сво ё opinion? Fine! Now postpone clause, rise, resemble on a room, then again come back to reading.
С.М. Сандомирский writes: « the Sense of a picture is simple. The people behind a dark deaf(indistinct) fence and in low houses are far from any spiritual inquiries. Служители of church already rise above every day fine businesses (above horizon a little), and звонница, as устремления in religious ideas, rises even above, grasping the large piece of the sky, but to make the way to light clouds and pure(clean) sky be unable. And only birds not only fly in the clear light sky of spirit, but live in the high sky, — this place of their daily stay ».
Again rise, is sensitive разомнитесь. If at you is кот, stroke it(him) and scratch at him(it) for ухом. If кота at you no, it is possible, for example to scratch an own nape. Now we shall continue.
Now, from your permission, I shall state to you the version of idea of this picture. The sense of a picture is simple. The circulation of life has made the next coil. Грачи have returned. Ещ ё the snow, ещ ё the sky of full свинцово-winter shades has not thawn, but грачи are already engaged in construction of jacks. We cost(stand) on пригорке and we look вдаль. In the early spring something щемяще-shrill is felt in air. And on a background by this пронзительности we feel loneliness. And hope. Е ё to us gives not thawing of snow, and not a kind church колокольни вдалеке, and especially not ordinary contours of sheds on the average plan. We feel е ё through an arrival of birds. Whether we are similar also to these birds? Whether our life same is also vain круговертью of events: every time repeating and every time completely another?
Compare own interpretation to what speaks Сандомирский about and about what I speak. Again rise. Approach to a window. See вдаль. If to read further reluctance, do not read. To what itself to force? Empty …
If you вс ё have decided(solved) to read further, welcome back.
One of ancestors of гештальт-therapy Фриц Перлс (Fritz Perls) just has noticed: « … we do not analyze. We simply perceive completely » (« … we are not analyzing. We are just integrating »). See at the interpretation and on the above mentioned versions from this point of view. That in them it is more than? The analysis or complete perception(recognition)? Can, there is ещ ё something very important? And something can not less important is absent in all versions (including yours own)?
Again look on репродукцию of a picture. Unless can all these words (including yours own) replace alive perception(recognition) of art product? If the idea of a picture also exists, whether that in a condition we е ё вербализовать? What for to us verbal senses? What for to us in general idea? Answer to itself the put questions.
Make a deep breath – exhalation. Be weakened. Smile. The session is finished. Thanks.
* * *
Epilogue, not obligatory for a perusal
1. Question for self-checking: whether you have caught the basic idea of my text? If yes, in what she consists? Generally, I wanted only to stimulate your own process of thinking – perception. No more that. If you have found in this text any other ideas, know: it is faster your own ideas, instead of mine. Such result — the quite normal phenomenon (consequence of successful гештальт-therapy).:-)
2. It is possible to see at a problem of idea of art product and a little in another way. In physics there is such piece, as « a principle дополнительности Бора ». On my sight, it(he) can be distributed and to art (quite probably, that I not first, whom have come in a head such idea). In art this principle could be formulated as follows: any interpretations of idea of art product are not mutually exclusive — all of them only supplement each other. If вс ё stated has left at you feeling of an easy irritation, above that, can, such approach will return to you the lost calmness.

Create and understand

написано в рубрике: Books, Lens — Метки: , — admin @ 11:42
Page 1 of 512345
I. Some introduction remarks
Any sane person continuously estimates as own acts, and everything that surrounds it. In each specific case received estimations always depend on uncountable number of factors. Therefore questions what to eat well and what to eat badly, it is possible to carry safely to a category eternal, that is such questions, which the person is compelled to solve for itself to resolve them once and for all basically it is impossible.
At the same time, it is necessary to recognize that communities of people (and each person separately) though somehow once having answered these questions, practically always aspire to impose subsequently the opinion to other communities and separate people. In itself it neither is good, nor it is bad: it is simply put in human nature. Moreover, such state of affairs underlies development. Here and the author of these lines wasn’t kept bringing the modest mite in case in point illumination.
As appears from a subtitle, the present micro-treatise contemplates a problem, first of all, from the philosophical point of view and mentions practical aspects in the extremely limited volume. If those aspects excite the reader first of all it should start at once section reading «What to do?».
Addressing to the micro-treatise form, the author perfectly realized that the statement will be superficial, and at times and superficial. However such form can be quite pertinent, if the problem of the author consists not in offering ready universal understanding of a problem, and in inducing the reader to independent reflections, and also to more detailed acquaintance with works of numerous predecessors. Besides, the micro-treatise form is good already that the potential reader with большей probability won’t throw reading somewhere in the middle and won’t fall asleep, having got tired to perceive and analyze long philosophical maxims.
II. What incentive motive of creativity?
Really, the question on motives and the purposes is primary. If the person didn’t have an internal requirement to create also the esthetics, in its modern kind, wouldn’t exist. The requirement to create as is internally inherent in the person, as well as other base requirements: in meal, a dream, the comfortable environment, etc. the Person simply should create the fine. Creativity such is the obligatory form of existence of the person. If it was not so than it would be possible to explain irrepressible draft of the person to create the esthetic objects deprived of any utilitarian appointment. However, there are very many theories that esthetic objects carry out communicative function, that is allow to transfer something non-material from the author to the spectator. This aspect will be discussed more in detail in other sections of this minitreatise.
Quite probably that the requirement to creativity has arisen at the person in the course of evolutionary development. We will tell, in the beginning the person has learned to receive esthetic pleasure from the world surrounding it, and then he has realized that can receive not smaller pleasure from is artificial the created esthetic objects. Having realized it, it began to be improved in their creation. And can, the requirement for creativity (including art) was initially inherent in the person created just like Misters, that is the Creator. Who knows? Anyway, such requirement objectively exists. The person creates not only under nature laws, but also under beauty laws.
Here it is necessary to notice that this requirement rather strange. All other base requirements are easily explainable: they promote a survival of the person as biological object. And what advantage of art creativity? I wouldn’t like to stop long on this aspect as this theme in itself is boundless. Easier not to leave the brought attention to the question absolutely without the answer I will describe two hypotheses:
1. The beauty indirectly helps the person to create better utilitarian objects, and also to solve life questions more effectively. Quite probably, as the concept of beauty was born at a utilitarian estimation of the surrounding validity. For example, comfortable inhabitancy began to be perceived also esthetically attractive, and not comfortable — ugly. In that case the aspiration to beauty speaks besides increase of biological stability. Creating art subjects, the person trains the brain which in this process is improved for the decision of purely utilitarian problems. Such state of affairs, as consequence, helps the person to solve more effectively also and existence problems in a society.
2. True sense of human life — in spiritual self-improvement. Such sight at things regards at once creativity as of paramount importance. All other purely biological requirements become secondary, that is subordinates to this main sense.
Anyway, the requirement for creativity objectively exists. The person as a biological kind can’t exist differently as continuously being engaged in creativity, and not only purely utilitarian, but also purely art, that is deprived, at first sight, any utility.
Having realized objective character of requirement for creativity, we should recognize as well that the person creates, first of all, for itself and for the sake of itself. It simply should aspire to satisfy this objectively existing requirement.
III. The Nonverbal message of the author of audience
As already it was mentioned above, very many believe that the sense (and, so, and the purpose) creativity consists in realization of communicative function. In the most interesting work «That such art?» Lev Tolstoi wrote: «… a word one person transfers another the thoughts, art people give each other the feelings». All mentioned work is constructed, in essence, on only one this thesis. In philosophical works of other authors also it is often underlined that any subject of art necessarily bears in itself a certain additional semantic loading, is free or involuntarily put in it the author.
Presence at the author of desire to transfer to other person in the nonverbal form certain inexpressible words the information (the feeling, the latent sense, and т the item) also leads to that for full self-realization the author needs to be understood and estimated by other people.
Presence in such approach of common sense is difficult for denying. But we will ask a question: what initially — satisfaction of requirement to create for the sake of itself or a transfer problem to other people of a certain implicit message? Here it is possible to argue long, resulting arguments in advantage both the first, and the second approach. It is represented to me that the requirement to create for itself nevertheless is primary. It is possible to result great variety of examples of that the person can be engaged in creativity at all to tell about something to other people, together with not to share with others any feeling. We will mention some such cases:
1. Happens and so that the person understands that its product, probably, anybody and never will estimate, and, perhaps, even anybody and never learns about it, but, nevertheless, the person creates, and creates simply because can do it — as if any unknown external force forces it to be engaged in creativity.
2. Often person at all doesn’t mean that someone will estimate other its creation by all means — it simply does something for itself(himself). The purpose of many (but, of course, not all) applied art subjects is that, for example.
3. In certain cases, by means of a work of art the person tries to fix the experience or the emotion not to inform on it to other people (though, probably, and for this purpose including), and first of all that most in the future to revive at itself in a shower bygone experience.
It would be possible and to continue further this list, but not in it the purpose and sense of this work.
Nevertheless, it is necessary to recognize that art can quite serve for dialogue, is important realize only that not only for them one, and that with a problem of this it consults not so ideally.
«The thought uttered is lie» (F.I.Tyutchev), that is imperfection of language and ways of creativity leads to that they can’t be ideally used for the purpose of transfer of thoughts and feelings from the person to the person. Moreover, the question on that, what for the person in general resorts to art for dialogue, is rather interesting in itself. It would Seem, what for to inform someone something by means of music?
1. If to admit that music transfers something, absolutely inexpressible by words how the author can be convinced what its message has reached the listener without distortions? How there can be it though is a little assured what is understood? How he learns what the listener has that feeling which he wanted to transfer? After all to rely on the reciprocal verbal response it is impossible! (If it was possible, from the very beginning it would be easier to author to put the idea into words, instead of music).
2. It would be not absolutely reasonable and assume that выразимая the idea in the form of music will fast find words a way to mind and heart of the listener at the expense of additional emotional coloring — after all, refusing words in favor of music, the author risks in general to appear not understood or misunderstood.
Thus, art far not irreproachably carries out communicative function. We can be never assured that we managed to give by means of it to someone the certain feeling tested by ourselves. All it also testifies that the requirement for creativity for itself is primary, and the requirement for creativity as a way of dialogue is secondary.
It is necessary to remember also that according to some representations the person in general does all finally only for itself, including, and is engaged in dialogue with other people for itself. Basically, such approach at all doesn’t contradict all told. Stated above it would be easily possible to state and from such positions. However for economy of a place I won’t do it. I think, and without that

I. Some introduction remarks


Any sane person continuously estimates as own acts, and everything that surrounds it. In each specific case received estimations always depend on uncountable number of factors. Therefore questions what to eat well and what to eat badly, it is possible to carry safely to a category eternal, that is such questions, which the person is compelled to solve for itself to resolve them once and for all basically it is impossible.
At the same time, it is necessary to recognize that communities of people (and each person separately) though somehow once having answered these questions, practically always aspire to impose subsequently the opinion to other communities and separate people. In itself it neither is good, nor it is bad: it is simply put in human nature. Moreover, such state of affairs underlies development. Here and the author of these lines wasn’t kept bringing the modest mite in case in point illumination.
As appears from a subtitle, the present micro-treatise contemplates a problem, first of all, from the philosophical point of view and mentions practical aspects in the extremely limited volume. If those aspects excite the reader first of all it should start at once section reading «What to do?».
Addressing to the micro-treatise form, the author perfectly realized that the statement will be superficial, and at times and superficial. However such form can be quite pertinent, if the problem of the author consists not in offering ready universal understanding of a problem, and in inducing the reader to independent reflections, and also to more detailed acquaintance with works of numerous predecessors. Besides, the micro-treatise form is good already that the potential reader with большей probability won’t throw reading somewhere in the middle and won’t fall asleep, having got tired to perceive and analyze long philosophical maxims.

II. What incentive motive of creativity?
Really, the question on motives and the purposes is primary. If the person didn’t have an internal requirement to create also the esthetics, in its modern kind, wouldn’t exist. The requirement to create as is internally inherent in the person, as well as other base requirements: in meal, a dream, the comfortable environment, etc. the Person simply should create the fine. Creativity such is the obligatory form of existence of the person. If it was not so than it would be possible to explain irrepressible draft of the person to create the esthetic objects deprived of any utilitarian appointment. However, there are very many theories that esthetic objects carry out communicative function, that is allow to transfer something non-material from the author to the spectator. This aspect will be discussed more in detail in other sections of this minitreatise.
Quite probably that the requirement to creativity has arisen at the person in the course of evolutionary development. We will tell, in the beginning the person has learned to receive esthetic pleasure from the world surrounding it, and then he has realized that can receive not smaller pleasure from is artificial the created esthetic objects. Having realized it, it began to be improved in their creation. And can, the requirement for creativity (including art) was initially inherent in the person created just like Misters, that is the Creator. Who knows? Anyway, such requirement objectively exists. The person creates not only under nature laws, but also under beauty laws.
Here it is necessary to notice that this requirement rather strange. All other base requirements are easily explainable: they promote a survival of the person as biological object. And what advantage of art creativity? I wouldn’t like to stop long on this aspect as this theme in itself is boundless. Easier not to leave the brought attention to the question absolutely without the answer I will describe two hypotheses:
1. The beauty indirectly helps the person to create better utilitarian objects, and also to solve life questions more effectively. Quite probably, as the concept of beauty was born at a utilitarian estimation of the surrounding validity. For example, comfortable inhabitancy began to be perceived also esthetically attractive, and not comfortable — ugly. In that case the aspiration to beauty speaks besides increase of biological stability. Creating art subjects, the person trains the brain which in this process is improved for the decision of purely utilitarian problems. Such state of affairs, as consequence, helps the person to solve more effectively also and existence problems in a society.
2. True sense of human life — in spiritual self-improvement. Such sight at things regards at once creativity as of paramount importance. All other purely biological requirements become secondary, that is subordinates to this main sense.
Anyway, the requirement for creativity objectively exists. The person as a biological kind can’t exist differently as continuously being engaged in creativity, and not only purely utilitarian, but also purely art, that is deprived, at first sight, any utility.
Having realized objective character of requirement for creativity, we should recognize as well that the person creates, first of all, for itself and for the sake of itself. It simply should aspire to satisfy this objectively existing requirement.

III. The Nonverbal message of the author of audience
As already it was mentioned above, very many believe that the sense (and, so, and the purpose) creativity consists in realization of communicative function. In the most interesting work «That such art?» Lev Tolstoi wrote: «… a word one person transfers another the thoughts, art people give each other the feelings». All mentioned work is constructed, in essence, on only one this thesis. In philosophical works of other authors also it is often underlined that any subject of art necessarily bears in itself a certain additional semantic loading, is free or involuntarily put in it the author.
Presence at the author of desire to transfer to other person in the nonverbal form certain inexpressible words the information (the feeling, the latent sense, and т the item) also leads to that for full self-realization the author needs to be understood and estimated by other people.
Presence in such approach of common sense is difficult for denying. But we will ask a question: what initially — satisfaction of requirement to create for the sake of itself or a transfer problem to other people of a certain implicit message? Here it is possible to argue long, resulting arguments in advantage both the first, and the second approach. It is represented to me that the requirement to create for itself nevertheless is primary. It is possible to result great variety of examples of that the person can be engaged in creativity at all to tell about something to other people, together with not to share with others any feeling. We will mention some such cases:
1. Happens and so that the person understands that its product, probably, anybody and never will estimate, and, perhaps, even anybody and never learns about it, but, nevertheless, the person creates, and creates simply because can do it — as if any unknown external force forces it to be engaged in creativity.
2. Often person at all doesn’t mean that someone will estimate other its creation by all means — it simply does something for itself(himself). The purpose of many (but, of course, not all) applied art subjects is that, for example.
3. In certain cases, by means of a work of art the person tries to fix the experience or the emotion not to inform on it to other people (though, probably, and for this purpose including), and first of all that most in the future to revive at itself in a shower bygone experience.
It would be possible and to continue further this list, but not in it the purpose and sense of this work.
Nevertheless, it is necessary to recognize that art can quite serve for dialogue, is important realize only that not only for them one, and that with a problem of this it consults not so ideally.
«The thought uttered is lie» (F.I.Tyutchev), that is imperfection of language and ways of creativity leads to that they can’t be ideally used for the purpose of transfer of thoughts and feelings from the person to the person. Moreover, the question on that, what for the person in general resorts to art for dialogue, is rather interesting in itself. It would Seem, what for to inform someone something by means of music?
1. If to admit that music transfers something, absolutely inexpressible by words how the author can be convinced what its message has reached the listener without distortions? How there can be it though is a little assured what is understood? How he learns what the listener has that feeling which he wanted to transfer? After all to rely on the reciprocal verbal response it is impossible! (If it was possible, from the very beginning it would be easier to author to put the idea into words, instead of music). 2. It would be not absolutely reasonable and assume that выразимая the idea in the form of music will fast find words a way to mind and heart of the listener at the expense of additional emotional coloring — after all, refusing words in favor of music, the author risks in general to appear not understood or misunderstood.Thus, art far not irreproachably carries out communicative function. We can be never assured that we managed to give by means of it to someone the certain feeling tested by ourselves. All it also testifies that the requirement for creativity for itself is primary, and the requirement for creativity as a way of dialogue is secondary.
It is necessary to remember also that according to some representations the person in general does all finally only for itself, including, and is engaged in dialogue with other people for itself. Basically, such approach at all doesn’t contradict all told. Stated above it would be easily possible to state and from such positions. However for economy of a place I won’t do it. I think, and without that

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