Kant); a social phenomenon that manifests itself in all spheres of society (G. Simmel);
a certain form of social change that does not depend on the object and is a social
mechanism, which is characterized by a kind of short-term and degree of variability
that affects the different spheres of life of groups of individuals (J. Lipovetskii). So,
agreeing with these statements, which apply in all possible spheres of the modern world
and are closely related to the notion of taste and the concept of "new" of other. We can
assume that it is a tangent (or even identical) concept of the concept of design activity
in general. In this case, we may already be interested in the principles of its formation
as a kind of mechanism for influencing the formation of taste (aesthetics?) in design.
The attention of scientists to the aesthetic manifestations of everyday life began
to grow from the second half — the end of the XX century(for example, materials of
the VIII International Congress on Aesthetics 1984 "Aesthetic, everyday life and art").
In the 1970s the term "aesthetics of everyday life" was introduced, they begin to denote
the aesthetic representations of the everyday world, where the formation of the image
and style of human life is realized. Instead of the traditional consideration of aesthetics
through the prism of art and the allocation of among its types, capable of aesthetic
transformation of the subject-spatial environment of human existence (architecture,
applied art, and subsequently — and design), comes awareness of the need to expand
the aesthetic limits from the boundary-artistic to any other manifestations of modern
culture. So, according to the Polish researcher Welsh, the processes of aesthetization,
the farther, become more comprehensive; the constant increase of elements of reality,
which fall under the aesthetic transformation, gradually transforms itself into reality on
the aesthetic structure [14, p. 32-35]. He divides the concept of everyday
aesthetizationthe concept of superficial (everyday?) aesthetization as a process of
decorating, creating a certain halo of emotions and distinguishes three of its types: the
aesthetic decoration of reality, which most clearly manifests itself in the design of
modern spaces of cities, public interiors, residential spaces, etc.; hedonism as a new
matrix of culture, which tends to focus on the smallest aesthetic values: pleasure,
entertainment or unlimited consumption; Aesthetization as an economic strategy based
on the aesthetic design of the appearance of the goods for their correspondence to
certain fashionable consumer expectations.
“Aesthetics of industrial form", "industrial aesthetics", "technical aesthetics",
"practical aesthetics", etc. All of these inherent phrases in the design of the phrase,
which are perceived as its natural and integral part, is the consequence of considering
the design as a historical form of integration of art and technology. So, let's not deny
that at a certain stage of design development, it was the aesthetic approach that was
decisive in the development of its theoretical and methodological basis. So, researchers
V.F. Runge’s and VV Senkovsky's consideration of her genesis begins with the
introduction of the term "aesthetics" introduced by Alexander Gotlib Baumgarten in
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