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Apollo and Tyche: order and fortuity as fundamental morphogenetic elements in design
Mikhailov Nikita Edmantovich

Post-graduate student, the department of Philosophical Anthropology and Public Relations, Herzen State Pedagogical University of Russia

197046, Russia, g. Saint Petersburg, ul. Malaya Posadskaya, 26, of. Institut filosofii cheloveka

nikitaartdesign@gmail.com

Abstract.

Based on examination of the design activity, this article analyzes the creative act and approaches towards morphogenesis, determines the fundamental principles of creation marked as “order” and “fortuity” that have ontological foundation. The work provides ahistorical review of the role of such principles in formation of the antique philosophical concepts and related aesthetic representations, ias well as reveals the impact upon the human creative activity of the principles of “order” and “fortuity”. Drawing a parallel between the morphogenesis in nature and such in culture, the author explores the evolution of mathematical-geometrical concept of world structure of the antique thought as an expression of the principle of “order”,  as well as demonstrates the development of this concept in subsequent views on morphogenesis in works of the theorists of art and design. The understanding by the Hellenic mythological consciousness of the principles of “order” and “fortuity” in presented in the work as a favorable background for successful divergence of the fundamental beginnings of the creative act. The methodology consists in combination of aesthetic and sociocultural approaches, which allow emphasizing the dialectic nature of the phenomenon of cultural morphogenesis. The author concludes that a creative act of a person not only assimilates with the natural morphogenesis, but also is limited by it: cultural transformation is realized through the absolute pair of the ontological principles of “order” and “fortuity” that the human creativity fails to overcome. It is also noted that the modern design, as a type of spiritual-practical activity, aimed exceptionally at the pure cultural and aesthetic morphogenesis most vividly demonstrates the dependence from the “order” and “fortuity”; however, the specified principles, being the basis of wonderful, manifest themselves in the historical development of art overall as the universal aesthetic paradigms.

Keywords: Tyche, fortuity, Apollo, space, geometrism, order, abstract form, morphogenesis, design, aesthetic paradigm

DOI:

10.7256/2454-0757.2018.2.24322

Article was received:

21-10-2017


Review date:

03-10-2017


Publish date:

22-02-2018


This article written in Russian. You can find full text of article in Russian here .

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