Origin of postmodern aesthetics and the space of the non-classical discourse

Studija skirta pastaraisiais dešimtmečiais postmodernioje humanistikoje išryškėjusioms slinktims aptarti. Dabar, kai postmodernus mąstymas skverbiasi į įvairias marginalijose buvusias humanistikos, socialinio gyvenimo, kultūros ir kasdienybės sritis, svarbu aiškintis gelmines šių pokyčių priežastis ir pasekmes tolesnei žmonijos kultūros raidai. Tekste gvildenami postmodernios kultūros, socialinio gyvenimo prioritetų pokyčiai, globalizacijos, mass media veikiamas skirtingų civilizacijų kultūros, mąstymo tradicijų suartėjimas ir naujų pažinimo teritorijų iškilimas. Ypatingas dėmesys skiriamas filosofinės problematikos estetinimo tendencijoms, Rytų tautų teorijų ir meno tradicijų įtakos augimui.This study is dedicated to the discussion concerning the changes in the field of aesthetic inquiry which made itself manifest during the last decades in the postmodern aesthetics. It concentrates on the metamorphoses in the subject of aesthetic inquiry and the changes in the problematic of postmodernist aesthetics caused by the influence of Eastern aesthetics’ traditions and electronic media. All these changes initiate the manifest expansion of aesthetic theories and penetration of daily life culture by aesthetic phenomena. Such penetration was significant to non- European aesthetic traditions but of no importance to Classical Western aesthetics. The limits of contemporary aesthetic science were considerably expanded and deprived of distinct determinations; the attitude to the subject of that science and to the field of its main problems was changed. The aesthetic inquiry penetrates the new territories previously treated as unaesthetic and includes them into the field of the significantly expanded field of aesthetic objects, the subjects of contemporary aesthetics’ investigation. The rise of these new problematic fields is directly related to the rapid development of communication means in the culture of super-civilization, to the modification of aesthetic experience, to the disappearance of boundaries between different spheres of life. As the most characteristic traits of contemporary aesthetic thinking are the intensification of the circulation of aesthetic ideas between different cultural worlds and the migration of various artistic symbols and aesthetic concepts to spheres previously regarded as unaesthetic. The new postmodern aesthetic experience surpasses the limits of aesthetics, established by the traditional Western metaphysics, enriching the content of aesthetic inquiry by the traditions of different cultures and their junctions, expanding its territory within the limits between the harmony of the Universe and the aesthetic topology of body. These changes were caused by the rise of problematic fields which previously were situated on the margins of academic studies. It looked like multiple rivulets suddenly ran out of the integral, purified torrent of classical academic aesthetics, each of them claiming the uniqueness of the subject of its aesthetic experience. The monolithic classical academic aesthetics was transformed and split into many local “aesthetics” and art philosophies which interact with various, previously regarded as unaesthetic, spheres of culture, social and daily life: the aesthetics of atmosphere, landscape, forest, park, water, body, thing, city, daily life, technical design, detail, medicine, sport, advertisement, fashion, feminism, media, multimedia and many other local aesthetics which show the mobility, dynamism, manifoldness, fragmentariness and constant expansion of the territories of aesthetics