Мова мистецтва й засоби міжкультурної комунікації
Language Arts and Means of Cross-Cultural Communication

Summary/Abstract: The work was based on the concept of "information model", in which the color information on the level of simulated semiotic metalanguage for normal and extreme conditions for the existence of complex systems. Chromatic analysis showed that the white models feminine sociability, memory, history and consciousness as a component of intelligence, gray – masculine creativity, the present and the subconscious, black – feminine sexuality, the future and unconsciousness. The main problem in the theory of culture is confined to the abundance of factual data for the understanding and classification that requires some much-acceptable theory. It is common knowledge that the latter one hasn’t been in existence so far because of the subjective manifestation of human spirit. And, of course, not only did the scientists as subjects (scientists) possess this subjectivity but also the objects of study (recipients). For researchers’ personal details, tastes and preferences are often included in the basic premise of theories of personality thus serving and reflecting the thoughts and values of those who developed them. Which way you could solve this problem – by eliminating this double-sided subjectivity for an adequate representation of generic nature and human nature? As the results of chromatic analysis, it was necessary to refer to the historical experience of the quest of human spirit, which, as it turned out, for millennia reproduced itself in a certain condition, and in particular, in the the canonized colors . And most significantly, these characteristics have almost been completely objectified all the subjective manifestations – of both the subjects and the objects of study. This approach has been taken in the "Chromaticism Myth", in the "Antique chromatism," in "The Color of Culture", in "Mind and Gender ’ which allowed combining different languages pertinant to different domains of science, and, in addition, art and religion for recreating natural human intelligence . Since the object of this work is the language of art, created by the artist as a subject of aesthetic interaction, it is, in its turn, implies the existence of certain information process. The same information (as opposed to the signal) has ontologically ideal predicates and its adequate model might be represented by a colour , as perfect and simultaneously objectified by world culture and / or in painting , and / or color as the canons of certain universals. Context of the same color can dramatically change the semantics depending on the conditions of perception. The Context as connected integrity, ensuring the consistency of its parts, chromatism is a carrier of holistic value and is regarded as the foundation, cementing the dependence of the individual characters of the given factors. In the "The chromaticism of a myth" I have shown that the characteristic feature of the color modality is the opponent character of the percept processing as ideal unsubjectified images, which do not exist for touch, smell, taste, hearing, or as the functions of processing stimuli that is in relation to the material objectified images. To test the methodology let’s briefly consider the semantics of achromatic tones to use the resulting patterns for aesthetic analysis of language and culture and art , in particular,. In the "atomic" model of intelligence the white colour sublimates the global function of the global – maternal consciousness. White color in the chromatic model characterizes the past – the memory of mankind, which it is for some reason is being more and more neglected. Gray is a sublimated archetype of chromaticism. In the chromatic model of intelligence the gray colour represents creative features of the global subconsciousness. The temporal aspect of this sublimate – is the imperceptible present. Black color often meant death, syncope, sleep or darkness. Since black things always seem heavier than others, the composition theory states that black color gives a sense of wrong form of the subject, as drowns chiaroscuro. In chromatism this formlessness of the black colour is explained by the fact that it sublimates the information of the future tense, which cannot be fully framed, objectified, realized in the present. Of course, the ethical view of colors provides a lot to understand their semantics. However, it remains unclear why Mother Earth, Demeter, Cora are symbolized by the black colour . Or why the Christian miniature, in the church and easel painting of the Virgin Mary at the Annunciation is often depicted in black robes, or why the melancholic genius is often characterized by the black color. Chromaticism as a scientific discipline answers these questions quite clearly and definitely. Thus, it remains only to conclude this message by a few rhetorical questions, of the "knowledge", for the interested persons will always find an adequate response in the collective unconscious of their own intelligence. Does not the image of twisted legs sound archetypal , though the snake might so gracefully twist around the tree luring Eve? Isn’t the image of Adam traditional being busy with the apple and ignoring this controversial metaphysical nature of femininity for millenia ? And isn’t our present really so imperceptible , the color of which is so visibly represented by the Creator in its ambivalence? Isn’t that the image of our world captured by Man Ray in this confrontational contrasting black and white, "top" and "bottom", "yesterday" and "tomorrow"? In this combination of the world femininity and its aesthetic transformation in the works of art, in all probability, there rests the language of art as a means of intercultural communication.

• Details
• Contents