ВИЗНАЧЕННЯ ПОНЯТТЯ «СПЕЦІАЛЬНА ХУДОЖНЯ ПОДІЯ», ЇЇ СУТНІСНІ ХАРАКТЕРИСТИКИ

The aim of the article is to conceptualize events in the artistic and empirical reality and identify the conditions of their convergence. Research Methodology. The author applies the method of terminological analysis for the insight into the concept of “event” in the empirical and artistic reality. The article provides a detailed application of philosophical and culturological method whereby the event is seen as sociocultural phenomenon; psychoanalytical method for the analysis of the impact of life events on the emotional state of a man; the methods of analysis and synthesis to determine the existence conditions of the events in the empirical and artistic reality; structural and comparative method that has permitted to reveal the basic elements in the structure of an artistic event and its difference from an empirical event. Results. The development trends of artistic practices in the post-classical culture convey the blending of the mundane and the social, cultural plan, the destruction of boundaries between the life and the artistic, the ability to create the events that can be classified both as empirical evidence and as an artistic act. All these properties are included in actionism as a form of modern art. The events that are created within this trend have the character of artistic events: the organization of action, the presence of the author, ideological content, focus on the target audience, publicity. At the same time such an event occurs in the empirical reality of an object (objects) that it is designed to. Such an event affects a human being (society) very seriously, introducing new concepts (ideas, images) into the outlook. These effects can be both positive and negative, aesthetic as well as anti-aesthetic. In any case, a person that perceives a creative product of actionism experiences life events that affect and sometimes change his mental nature, behaviour, emotional state. The author of such event can be any person who needs and has a desire to introduce the idea into the socio-cultural environment. The article defines and conceptualizes the notion “special artistic event”, which is understood as a non-linear morphological artistic and symbolic system, formed on the basis of eventivity of a non-classical type with the enhanced signs of dissipativity (instability) and a partial realization of the principle of randomness. It may vary based on the procedural palette of means of artistic expression and a deterministic impact on the individual consciousness. The viewer is subject to the principle of involvement of the proposed action. Such an action is based on the artistic and symbolic principles with the aim of transmission of cultural values and ideas of a particular community or an individual. The author analyzes the essential features of an event, which arises at the intersection of empirical and artistic reality. The concept “special artistic event” is considered within the two subsystems of eventivity: the system “event – special event – special artistic event” and the system “classical artistic eventivity – non-classical artistic eventivity – postclassical artistic eventivity”. A classification of events according to the level of subjectivity has been developed, which includes such concepts as “micro-event”, “event”, “special event” and “special artistic event”. “Micro-event” is a familiar action to an individual. It develops the course of everyday life and does not require the analysis and the search for interpretations. Micro-events occur as a result of natural changes that are logical in the given circumstances of human actions, which are part of the framework of everyday existence. “Event” is an act, as the result of which a person experiences changes in his/er internal and external environment. The result of the event is always a change in the internal state, the breakup, forming new views, gaining new knowledge. “Special event” is an action organized for the purpose of achieving certain goals through direct influence on the subject’s consciousness. A “special event” always has a specific initiator and a certain level of organization, that is, it cannot happen by chance, even if the subject perceives it in such a way. An individual can be both the author of a “special event” and the subject on which it is directed. In the latter case, it can be said that a “special event” has occurred if there has been an internal process of comprehension and certain indoctrination, characteristic of the “event” in general. That is, the mechanism of human perception of a random natural “event” or deterministic by another individual remains unchanged. The dominant feature that distinguishes a “special event” from a “special artistic even” is the artistic and symbolic component, the presence of which indicates the relation of the latter to artistic reality, at the same time it has synchronous unfolding in the everyday reality. It has been found that “special artistic events” in empirical and artistic reality are characterized by: staginess(the development in a certain plot, including a tipping point); installation (the combination of different elements of culture, for the sake of creating a single canvas of a “special artistic event”); determination (the focus on a specific goal, target audience); coincidence(typical both for the events in the empirical reality arising from a certain coincidence of circumstances, and for “special artistic events”) – regardless of the fact that the latter have a specific organizer and are carefully planned, the subject perceives them as an event that breaks his routine; fluidity, or procedurality (a “special artistic event” is based on the material from the past, is intended to make changes in the future, but always happens here and now at the present moment); symbolization, which is characteristic only of “special artistic events”, is the only difference between the artistic event and the empirical one. Novelty. An attempt is made at identifying the differences of events in the empirical and artistic reality and considering the aspects of their convergence in terms of the post-classical culture. The practical significance. The obtained results make it possible to establish the basis for further reflection of the concept “event”. The findings in this paper can be used in pedagogical and educational practice while preparing the general and specialized courses in cultural studies, art criticism, directing mass festivals.