Abstract

The article considers the trend characteristic of contemporary aesthetic practices, which is connected with the shift of attention to the subject’s corporeality and its mutual influence with the environment, to performativity and active involvement of the subject. The purpose of this review is to analyze the highlighted trend from the perspective of phenomenological philosophy. This will require showing the initial closeness of aesthetic experience to the phenomenological method and the ontological and epistemological grounds for it. The paper will consider the transition from the traditional Kantian understanding of aesthetics as “disinterested” contemplation and the corresponding reflection of this process in the theory of cognition to another model. For this purpose, it is proposed to turn to the theory of “performative turn” proposed by Fischer-Lichte, which demonstrates the irrelevance of hermeneutic and semiotic approach for analyzing aesthetic experience in the modern sense. The article considers the phenomenological approach of J.-L. Marion in its applicability to the analysis of modern aesthetic practices oriented to the radical transformation of the subject. It also suggests tracing the line of criticism of “opticocentrism” in film studies. The cinematic experience is analyzed on the basis of its multisensoriality, as well as the embodiment of the subject and its placement in the environment. For this purpose, the author of the article refers to the theory of M. Merleau-Ponty and its further development in the theory of enactivism. It is concluded that the search for a strategy to reduce the distance between subject and object can be realized in the aesthetic experience, in which subject realizes one's own incorporation to the world. The phenomenological method becomes a tool for analyzing this experience.