The History Of Technical Aesthetics In USSR And Its Sociality

In the 1980 s and 1990 s,at the initiative of Qian Xuesen and other scholars,a great social discussion on “technical aesthetics” emerged in China.The Soviet technical aesthetics was also one of the sources of ideas for this discussion.Today’s art and design are facing the impact of the technological revolution and the need to think about the way out of the change.It is therefore necessary to systematically study and sort out the birth and development of Soviet technical aesthetics from the 1920 s to the 1980 s,as well as the important role played by social idea within this field,in order to contribute to the understanding of the theoretical sources of technical aesthetics.Starting with a comparative analysis of the social terms used in the West and the Soviet Union,this paper explains why there are similarities and differences between the Soviet technical aesthetics(and productionist art)and the Western concept of “design”and between the Soviet concept of “artist-constructor” and the Western concept of“designer”.These differences are related to the reasons for the emergence of technical aesthetics and its social nature.This idea of social design is reflected in the basic propositions of technical aesthetics: “design for whom”,“design of what” and “design by whom”.This article analyzes which socially transformative approaches to technical aesthetics have been developed and how these ideas have been applied in practice in different branches of design,such as fashion design,furniture design,graphic design and architectural environmental design.Methodologically,the study uses comparative analysis,product analysis,contextual theory in discourse analysis,and system structure analysis.The study demonstrates that contemporary society cannot ignore the theoretical and practical experience of the social nature of technical aesthetics in solving the design problems of modern society;it reveals that the promotion of social processes and the construction of social systems are the original purpose and objective of Soviet art and design,as well as their universal and essential attributes,and that this concept is fundamentally different from some “patchwork” social designs.In an era when art and design are increasingly being pursued to integrate with science,the history of technical aesthetics also reminds us that aesthetics and humanism should be fundamental attributes of art and design that cannot be ignored.The author of this paper is a student from Russia,studying at an art academy in China.The author has made a comprehensive compendium and theoretical deepening of Russian and English literature within the subject of the study,and it is a paper with strong originality,foresight and relevance.