Abstract

The article reveals the interdisciplinary potential of empirical aesthetics, including from the perspective of the formation of the concept of a "global art project". The main emphasis in the material is on the conceptualization of empirical aesthetics in comparison with other levels of aesthetic scientific reflection, such as philosophical aesthetics, analytical, receptive and others. It is shown that it is precisely in the aspect of the development of empirical aesthetics that relevant research practices have been developed that make it possible to study art from the point of view not of a form of social consciousness, but as an independent phenomenon of individual and collective human life. The article also provides arguments in favor of the opinion that art grasps reality, revealing its consolidating properties. Thus, the background of empirical aesthetics is revealed, which is necessary for understanding its scientific strategy. The research methodology is based on an interdisciplinary approach, as well as system analysis. These directions allow us to reveal the purpose of the article and solve the tasks set in it, in particular, the use of such a method as event analysis contributes to the formation of the so-called "global art project". The evaluation of this project is carried out at the theoretical and applied levels. A special contribution of the authors to the study of the "global art project" is the chosen perspective of the conceptualization of this research area, as well as the assessment of the heuristic value of the proposed methods and research practices in line with empirical aesthetics, confirming the importance of the "global art project". The main results of the undertaken work include the following provisions: (1) the specificity of empirical aesthetics in the study of the deployment of social reality and the meanings of human individual and collective existence in art is revealed; (2) it is established that the theoretical background of empirical aesthetics arises not only under the influence of the philosophy of art or classical aesthetics, but also in interaction with social knowledge and in particular, with the sociology of art; (3) The experience of using event analysis in the study of art is summarized.