Perspective vision of space in the association of human life

To examination of the topic, in appearance a little related with applied arts, I was pushed by the famous paradox of Pythagoras: "We should not be afraid of death, because when we think about it – there is no death, and when it is there – there is no us," so we should be afraid rather of birth than of death, i.e. it makes sense to be afraid of what is known. This paradox in our view reflects the notion of time being and the real changes that take place in it. He rejects the notion of time as a physical quantity inherent in the evolution or of the devolution of object. Any object itself is positive or negative, "perfect" in its own habitat. We give a positive or negative evaluation only on the expiration of the time not taking into account the changed environment of the object. That is, in any case the object is destroyed, breaking away from the basic concept, in which it was created. In other words, the stool of the 14^th century will look just as ugly at the palace, as well as a chair of Louis the 14^th in a peasant's log hut. An attempt of culture experts and art critics to create a harmonious space leads ultimately to the creation of museums - reserves that extend the meaning of washed stools at the present, creating a local area - log huts, rickety churches, Vakula the smith, it looks in the modern world not as pathetic as accidental.

But our goal right now is not to discuss the philosophy of perception of the past being in the present. Our goal is to understand from ethnological and culturological point of view the concept of time as the main factor changing the space. Dialectical argument about what is more primary: time in spatial change or space in a temporal change, also is of interest for us. The new toolkit, which was in the scientific study of practical ethnology and cultural studies thanks to sociology and psychology allows us to assert that time is not an evolutionary flow, but is a variability of the choice remaining in the same perfect version. That is, if an individual or group chooses a particular path of development and in fact the way of the interaction with the microenvironment - they interact with the laws of a common society, and if these laws are respected, this way is recognized as development, but if not then degradation. But nothing prevents the same individual or group from returning to the beginning of its development, by the way, we can see it in the attempts of religious or social isolation (hippies, monks, hermits, etc.) and begin the path anew. The most interesting moment in it is that the return will be based on the principle of a stool and any of the following development will be accepted as truth, the terminal station. That means that we, developing Plato’s idea of the world of ideal objects, we conclude that ideally reason, which governs human existence, is based on simple objects, whose development is not important in terms of human existence, because they are destructible as well as a human being himself; and time, including its evolution and devolution, is just a series of selective probabilities, which is unable to create the perfect idea ob ​​a fundament of further development. Therefore, we guess that the motto "if" has become the main slogan of our time enclosed in popular culture. Consequently, the time is absent. There is a stream of consciousness or a stream of our choice, that is, identifying any thing by buying it or selling, using, manufacturing it we in any case destroy it, as we deliberately destroy in it the original meaning. Destroying the original meaning, we create a new one created by our world and the surrounding area, but in any case it will be the destruction of the original idea, i.e. the original meaning of the object. In other words, we come to the conclusion of this thesis: the notion of time as the concept of changing the meaning is a subjective notion of mind in the reflection of reality. In our opinion, this view would be able to reconcile the humanities and the sciences. On the other hand the humanities could think through paradoxes, for instant: the notion of fashion as the concept of national culture is eternal, because it is constantly a subject to change.

Among other things, concluding, hypothetically, I would like to mention the version of the multidimensional space, in other words the number of unrelated universes. Sense of the discussion of this hypothesis lies in the fact that time is a part of the relationship of this space. Reality is the perception and use any of the parts of this space. Consequently, we arrive not only at proving the original theory of the return of the world of ideas, but also at parallel use of the world of ideas and its components at different spatial categories. That is, the world - "I," exists not the only way that I chose and what I do, but also in a different space, or series, the same "I" has a very comfortable feeling in that I did not choose and what I do not do. The dilemma is enclosed in this: going back to the idea of ​​'I', I join my own spatial dimensionality of "I" or continue increasing it. In terms of crafts, the concept implies the use of space to the purely utilitarian purpose. That is, spatial categories are directly dependent on the desire of the subject to conquer this space. In this case, perception may be directly affected by culture, upbringing, etc. We do not conclude that the object is within the scope of his culturological significance. Any object created primarily utilitarian, and its cultural and historical value is secondary. Therefore, the landmark symbols of national culture should be primarily considered in terms of its purpose, and only after that as the aesthetic value, as reflected in the perception of objective reality of actually existing space. Based on these theses, the objective reality is a point of view of the formation of spatial and cultural definition that affect the utilitarian, decorative and purely national art. This definition combining all the individual creativity shows us the vitality and material comfort of a particular ethnic group, realizing later into the creative theme of "popular" artists and craftsmen. Spatial self-sufficiency in this typology reflects not only the revival of crafts, but more its decline, because these objects of production are separated from their utilitarian value and in semantic meaning are only a surrogate for real objects.