Abstract

Diffused aesthetics is the formula by which the pervasiveness of aesthetic phenomena in the current scenario is summarized: having overcome the long phase of the exclusive dominance of art as the parameter of aesthetic values, contemporaneity has recognized itself in a plurality of practices in which even the non-aesthetic is thought and experienced as aesthetic. The essay aims to probe the theoretical aspects of this process in which material consumption and immaterial consumption converge into a single, everyday and pervasive scenario. This definition of a globalized aesthetics, in which the role of the aesthetic in consumer culture is fully activated, has configured first of all the opposition between the aestheticization and the aesthetics of the everyday, one approach ideological and critic and another more constrained to the aesthetic experience of the practices of the contemporary life-world.