Experience and artefact

The paper is devoted to the phenomenon of experience, as it exists and becomes handed over inside the human culture in general. The authors go out from the V. Melas’ concept of experience as a whole period of the soul life in unity of intellectual and emotional moments. The experience is a product of culture and its necessary moment, it emerges together with consciousness, because animals could have only spontaneous reactions but in no way temporal images. At the same time, experience becomes a kind of spending time activity. The whole three time modes of experience exist in the present time; however, completeness and integrity of experience are realized only in recollection. The experience-recollection exists in culture in the dialogue and objectivated artefacts. Art presents a good example of objectivation of experience. It is based on the imagination, also, it demonstrates the inner world of creator in systems of images, signs and symbols. As authors argue, art of painting expresses static of experience, whereas music expresses its mute dynamism. In their turn, belles-lettres, theatre, cinema represent in form of art common stages of usual experience, which is reflected through the structure of subject. The being of experience in the form of artefact lets it transcend space and time as well as wake up the same experience in other. The best mode of expression of experience, as authors summarize, is fiction: synthetic arts are oriented on the outer expression, while literature describes namely the experience as it is. The important task of the art as artefact consists in true ‘broadcasting’ of initial author’s experience.