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The main problems of theory and history. -- L., 1925. P. 7). Here, in his
opinion, and the need for a "collectivist theory of art."
Such statements, of course, follow outside the formal method, however
f.Schmitt leads a number of its purely semiotic observations.
"Visual images characteristic of spatiality. (...) For acoustic
images is typical, on the contrary, the fact that their ranks are deployed in time and
out of time does not exist" (ibid. P. 42). 06 the same write and
Roman Jakobson in their work on visual and auditory signs
(Jacobson R. To the question of visual and auditory signs // Semiotics and
accustomedly. -- M., 1972). In determining F. Schmittconstantly
falls and consumers of art: "the Task of the spatial arts --
to oformliat outside of the artist substance to match
visual images of the artist and prompted the same visual images
consumer art" (F. Schmitt, op. CIT. Op.P.42).
The researcher introduces the distinction between fine and
nonrepresentational art. In the latter case we are talking about
the feeling of the artist, at the same time, fine art talking about
specific emotions. And then follows a purely semiotic complexity: "No
fine art, which would be completely absent
non-visual elements (tone, rhythm, rhyme in literature, rhythms,
the pace and timbre of the movements in the drama, rhythms, and harmony in painting and sculpture),
and there is nonrepresentational of the arts, where there were no traces of depiction
(onomatopoeia, rhythms and tempos in music, in dance, facial expressions, naturalistic
motifs in patterned painting, nonrepresentational sculpture and architecture" (There
Empire thoroughly searched each separate instance of the gospel
texts to destroy it, - for I knew that these books pose a
the mighty revolutionary potential energy..." (Ibid.P. 175-176).
F. Schmidt in principle, interpreted the art of pure communication:
when one person finds before the other world of his images below
"infect" their experiences. Thus again dramatically increases the role
consumer: "the artist not only caters to painters, awakening "with
an unknown force" the images and the emotions, which in a vague kind
non-artists under the influence of being already born; the power of the artist over
"people's hearts" - the power is quite limited, whatever it
ability, talent, genius, and anything mysterious and mystical in it.
Any work of fiction, which had success with a team
people can be rightfully considered as an expression of feelings
all of the team and as an indicator of the level of public its development"
In General, the concept of F. Schmitt sufficient system, we even lowered
some of the proposed classifications. It is communicative in essence,
therefore, it constantly refers to the consumer, it is purely passive
functioning is translated into a more active role. And almost all
semiotic ideas associated with the future development of visual semiotics
art, are already present here, including forward/reverse
perspective, point of view (the latter being actively developed today, to
example, B. Uspensky. See: The Assumption B. A. Semiotics of art.
- M., 1995).
Prdyduschy texts attracted us by its desire for consistency and
objectivity. Among them we can also include V. bogaevskii,
who said: "art history as a result of their work, hopefully
develop a common language of art, which as yet recognize only a few"
(Bogaevsky V. The task of art history (Contemporary issues in the study
fine arts) // problems and methods of studying the arts. -- P., 1924.
P. 61). The reports read at the meetings of the Commission on the study of philosophy
art philosophical branch of the State Academy of Art
Sciences in 1926-1927 and combined in a collection of articles "portrait Art",
it should be recognized already
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