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Aesthetics of Gilles Deleuze: to the immanentistic philosophy of art
Volodina Alexandra

post-graduate student at Institute of Philosophy of the Russian Academy of Sciences

109240, Russia, Moscow Region, Moscow, str. Goncharnaya, 12, bld. 1

sasha.volodina@gmail.com
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Abstract.

This article makes an attempt to comprehensively understand the notions and methods of the aesthetic theory of Gilles Deleuze presented in the works “Francis Bacon: The Logic of Sensation”, “What is Philosophy?”, “Cinema”, and others. The subject of this research is the conceptual foundations of Deleuze’s aesthetics that previously were not sufficiently covered in the scientific literature. Deleuzian philosophy of transcendental empiricism suggests an original theoretical approach to examination of art, aesthetic experience and sensation; the author of the article recites its prospect and innovativeness. According to this approach, art is not viewed in light of its special ontological or axiological status; on the contrary, the central becomes the study of its function – as production pf a special regime of space, and the place of origination of sense. The distinctness of Deleuzian aesthetics is revealed through the notion of sensation, which manifests as the core of criticism of the concept of the work and the traditional subject-objects scheme in application to art. Sensation is interpreted as a complicated composite construct that includes the space of aesthetical, as well as non-artistic corporeity and specific type of perceptive subjectivity. This allows expanding and reconceptualizing the notion of aesthetic comprehension, as well as develop the new productive methods of discourse on the nonfigurative and contemporary art.

Keywords: percept, sensation, philosophy of immanence, Deleuze, aesthetics, art, affect, subjectivity, sign, image

DOI:

10.7256/2454-0757.2018.3.24571

Article was received:

29-10-2017


Review date:

03-11-2017


Publish date:

21-03-2018


This article written in Russian. You can find full text of article in Russian here .

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