The new aesthetics of transitivity

Abstract

The content and patterns of rigid (crisis) and fluid (soft) transitivity are analyzed. The psychological difficulties caused by rigid and fluid transitivity are shown, and it is proved that it is the duration and irreversibility of small but constantly running changes that cause the greatest anxiety and negative emotional experiences of people. It is revealed the specificity of the modern social situation in which the fluid and rigid transitivity are closely connected. This leads to the actualization of the desire for peace and stability and raises the question of how to overcome the negative psychological consequences of transitivity. The necessity to adopt a situation of constant change leads to the appearance of a new aesthetics, aesthetics of transitivity. In this aesthetics, two opposing trends come to the fore: aesthetic of everyday life and aesthetic of abrupt transformations. This leads to a contradiction in aesthetic standards associated with the presence in the works of art in unison classical images and modern forms. These conflicting standards are linked in a single piece of art. At the same time, broken forms and sharp tonal and rhythmic changes are accompanied by sounding text. Appearance to architecture, seemingly, compensates the loss of a sense of time, and the desire to modernize the plot is used to prove the constancy of many modern problems. It is proved that for studying the psychological regulations and phenomenology of mixed, rigid and fluid transitivity, it is necessary to use a complex methodological construct that goes beyond a single methodological system, that is, represents a kind of methodological collage. Emotional experiences of the scrapping of times and spaces determine the ability to find one’s own, personal, harmonious combination of space and time. These experiences form new ideas about life and crystallize into new aesthetics, new values and images of stability. Thus, we can say that the aesthetics of disharmony, transforming in the emotional experience, leads to new images. Their aesthetic makes broken images new beauty. This leads to the fact that these images become new aesthetics. They help get used to the transformations. And the external and internal forms of the chronotope can become the basis for working out a methodological model for studying and interpreting data obtained in situation of rigid and fluid transitivity.