Aesthetics of the Event and Subjectivity

Abstract

The article discusses the significance of N. Kiyashchenko’s aesthetic studies in the light of the aesthetics of the event. The relevance of the aesthetics of the event is given by the obvious growth in the significance of sensory experi­ence, reaching in the limit to uncontrollable and destructive affective sensuality. The theoretical origins of the aesthetics of the event are correlated with the ideas of Kant, namely with the understanding of “figurative synthesis”: the combina­tion of individual taste and its universality with transcendental synthesis makes it possible to generate new knowledge, which is significant for aesthetic epistemol­ogy and philosophical anthropology. Being built on the basis of the aesthetics of the event, subjectivity combines a direct sensual relationship to life and ref­lection. Aesthesis is understood in its primary sense as the energetic source of the aesthetic relationship – a semantic event where the deep energies and forces of existence and understanding act. In the structure of the original aes­thetic reflection is actualized the idea of spatialization of thought – the topologi­cal strategies of reflection are called to action. The aesthetic is understood in the topological relationship of primary аesthesis, knowledge, spiritual experience, “bare life” and evidence-assertion. It is the eventful manifestation of the aes­thetic situation that is capable of projecting the aesthetic telos into the world, the primary “assembly mechanisms” are “launched” in relation to the ethical, an­thropological, existential and political strategies of meaning genesis. Aesthetic intention turns experience and naming to those meanings that are rooted in di­rectly experienced reality and are symbolically represented in the categorical system. In this regard, we can talk about event-oriented aesthetic thought and the formation of topological subjectivity.