Projective aesthetics as a possible world

Boris Orlov

Abstract


The notion of “projective aesthetics” is considered in this paper for the first time as a variant of the recourse to praxis that characterizes contemporary aesthetics and its “aesthetic involvement” (A. Berleant). Projective aesthetics involves the use of methodologies of a new type:  “schizoanalysis” (in Deleuze’s and Guattari’s terms), “conceptivism” (as devised by M. Epstein) and “projectivism”. The emphasis is put on the principle of “rhizome” and on the features of so-called “culturonics”, a way of thinking “through projects” in the cultural sphere. Projective aesthetics implies a way of philosophizing about art and aesthetics which is defined by a functional orientation in terms of a process of aestheticization and artification, and, accordingly, of projectivity. The connection between projective aesthetics and the peculiarities of modern communicative aesthetics is also examined, together with the need for creating a philosophical glossary of artistry and modern art, meant as a relevant project for aesthetics. In the text, a special place is also given to a number of projects implemented in the process of teaching philosophical aesthetics, as related to beauty as well as with the direct participation of students in filling out the contents of the above-mentioned glossary.


Keywords


projective aesthetics; aesthetic engagement; rhizome; culturonics; conceptivism; discourse of lecturing in aesthetics; glossary of projective artistry

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DOI: https://doi.org/10.5281/zenodo.3632459

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ESPES (ISSN 1339-1119) is published biannually by Society for Aesthetics in Slovakia
Institute of Aesthetics and Art Culture, Faculty of Arts, University of Presov, Slovakia

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