Mobile Forms in Architecture, Painting and Music as a Paradigm of the Contemporary Spatial Image of the World
Abstract
The object of research in this article is formed by the mobile forms in 20th architecture,
sculpture, painting and music which appeared in the art and the lives of humanity in connection
with the changes of conceptual foundations of science, philosophy and culture. The issue of the
research consists in determining the universal foundations, regardless of whether or not all of
these experimental forms are united by a common paradigm based on a fundamental reevaluation
of the world. The innovative discoveries of science in the 20th century formed a new, ambivalent,
multilevel method of thinking which generated a complex polyvalent artistic epi-system.
The mobile forms turned out to be the expression of a new perspective of the modern world.
The methodological basis for the world is comprised of the study of the history and theory of
contemporary art and architecture, philosophy and science. The methodology for the research was
comprised of the polyvalent analysis of scholarly literature on the theory and history of 20th century
architecture, art, science and philosophy; the graphical-analytical of the compositional structures
of works of art and architecture, as well as the capaciously spatial modeling; a comparative
analysis of the compositional techniques and methods of the 20th century avant-garde trends in
the visual arts, architecture and music. This research has shown that the expression of profound
and mobile perceptions of human consciousness, reflections on the world, self-realization in the
cosmic space, and the perception of the instability and polyvalence of the image of the Universe,
in which everything changes rapidly and everything is ambivalent, has also begun to attract the
attention of art. The scholarly novelty of the subject is present in the systematization of the mobile
forms in the various arts, the disclosure of the connections between them and the scientific and
philosophical foundations, the recognition of the common organizational and constructive ideas
of the mobile forms, as well as the determination of the future perspectives of application of
mobile forms.
Keywords: mobile forms, architecture, open plan, painting of action, sculpture, mobile forms,
aleatory technique.
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DOI: http://dx.doi.org/10.33779/2587-6341.2021.2.008-021
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