Abstract

This paper recounts the author’s reluctant journey of translating Matthew Fuller and Eyal Weizman’s Investigative Aesthetics: Conflicts and Commons in the Politics of Truth into Japanese, a process that turned out to be a mix of philosophical tightrope walking and comedic pratfalls. Along the way, we meet Baumgarten, the original translator who coined the aesthetica nomenclature, Kant, who insists that there can be no such thing as a science of sensibility, and a parade of Japanese translators who took great artistic liberties in rendering an alien term into a complicated language formed by three layers of different writing systems. The author reflects on his coining of a new translation for “aesthetics” in Japanese—Kansei-Jutsu (“Sensibility-Art”)—a term that baffled publishers, thrilled a few cultural studies scholars, and may have earned a side-eye from beauty salons already using “estetikusu” for facials. The translation saga spirals into debates about what “aesthetics” even means, culminating in a bittersweet realisation: translation is less about getting it right and more about sparking delightful, sometimes ridiculous, new ways of thinking. By the end, aesthetics re-emerges as a celebration of difference, proving that even conflicts can create a strange and wonderful commons when approached with an openness to diverse sensibilities.