The relationship between the senses is manifested at the junction of the arts and provides an opportunity for a harmonious perception of life. The sounds of music in our imagination can be painted with amazing combinations of colors, paintings can throw heat or bring chilling horror, touch sometimes smells of ozone or stinks of mustiness, culinary aromas explode the gastronomic imagination, and the taste of mountain air deafens with symphonies of happiness. These worlds are so different from each other, but at the same time they constantly touch, striking sparks and giving birth to tongues of that flame, which is called the energy of life. This flame heats up the imagination, and that, in turn, inspires movement, and all these forces are so closely intertwined that cause and effect are indistinguishable.Art controls the imagination. But since imagination is an integral part of the vortex that breathes life into us, it would be very tempting for anyone who controls art to take over a wider field of activity in order to gain power over the minds of their own kind.Due to their own limitations, it seems to many creators that by taking a fatter piece from the viewer's senses, they will more likely gain power over the viewer. And now strange hybrids are being born: sculptural installations that must be washed down with champagne; stories that are supposed to be read only to certain music; films, the highest achievement of which is the manifestation of 3D effects, aromas and vibrations in the audience; concerts, unthinkable without light extravaganzas, and so on.All this is really impressive, but not by the power of the artistic, but by the power of the imposed. If you look at it, then this kind of grandiose show is based on the primitive melody of a yard song, a spectacular film based on an idea from a children's sandbox, and a surprisingly technical picture is just a tangle of digital projections, like a guilloche on banknotes.There is no artistry in such works, technology has killed it, having previously emasculated any creative principle from the brain of its creators. Therefore, the grain of such a mixture is most often a mistake. True artistic value, as a rule, is alien to technological frills. And if a poet is convinced that without the right font and a certain musical background, his poems are inaccessible to perception, then you are a graphomaniac.If a composer is unable to convey at least the general idea of his work through a piano, without computers, tambourines and light music, then this is mediocrity. If an artist needs only the Sistine Chapel to exhibit his work, then he is a fraud.Nevertheless, Andrei Tarkovsky would never have shot Solaris if he hadn't been armed with a brilliant theme from Bach that animates the film. Maya Plisetskaya would never have danced Odette if Tchaikovsky hadn't written Swan Lake. Well, Rembrandt would never have written "The Return of the Prodigal Son" if the apostle Luke had not recounted this parable of Christ in his gospel.Because when creating a work of art, it is impossible not to rely on the cultural achievements of the past and not come into contact with the worlds of neighboring perception. But the difference between a real work of art and its surrogate is that a technical fake tends to get into the soul through all the senses in order to provoke a programmed impression; while a light touch of only one of the senses is enough for true art to overwhelm all the others. Le
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