La estetosfera en las artes y el retorno del medioevo

Abstract

In the current postmodern (Lyotard, 1996) semiosphere (Lotman 2000, 1996), the time of the avantgardes has passed. We live in a plurality of aesthetic (Gombrich, 1999) or modes of sensitivity which in its most successful expression have to do with the aesthetic pleasure related to fine arts (Valéry, 2018). However, this tarnishes the possibility of an anticipatory resolution of an ecstatic horizon of future (Heidegger, 2015), if only is allowed to see the surface difference of entities and not the unit order that underlies these (Heráclito, 2009), with which we falls in the medium of a present that does not recognize their future or their past (Heidegger, 2015; Jaspers, 1958). Taking as a basis the hypothesis that an expresión of that order in the arts, has to do with the ultimate coincides with the more traditional (Gombrich, 1999), it was studied current texts that refer to different artistic expressions, looking for conceptual convergences (Grondin, 1999) that indexically (Ginzburg, 2004) relieved such underlying in the mode of an aestheticsphere as an ontolical structure of sensitivity, from which emerges an epistemological semiosphere today, interweaving of tensions between decentralized conceptual nuclei that updated cultural elements of the middle ages.