Abstract: The subject of this research is the philosophical theory of affect developed by Gilles Deleuze that found its reflection in the works of modern philosophers and theoreticians of culture. The article covers the genesis of Deleuzian interpretation of the affect emerged on the basis of Baruch Spinoza’s concept, as well examines the specificity of affect as a collective preindividual emotion, dynamic intensity representing the ability to influence and be influenced. Nonpsychological and nonvisual nature are determined as the key characteristics of affective event. The research combines the historical-philosophical approach in interpretation of the texts of G. Deleuze, B. Massumi, T.Brennan, and other philosopher and theoreticians of culture engages in this problematic, as well as Deleuzian immanentistic approach to aesthetics and philosophy of art and culture. It is proven that Deleuzian problematic of affect, which is insufficiently studied within Russian literature, requires unfolding on the materials of art; this is substantiated by the fact that namely the situation of the encounter with art allows not only conceptualizing affect as the influence and enduring influence, but also trace its dynamics (as an inseparable aspects of existence and functioning of the affect). Diversified, resonant and tangible nature of the affect, in turn, suggests the tools for comprehending the changeability, fluctuation and dynamicity of the modern sociocultural processes.

Abstract: This article makes an attempt to comprehensively understand the notions and methods of the aesthetic theory of Gilles Deleuze presented in the works “Francis Bacon: The Logic of Sensation”, “What is Philosophy?”, “Cinema”, and others. The subject of this research is the conceptual foundations of Deleuze’s aesthetics that previously were not sufficiently covered in the scientific literature. Deleuzian philosophy of transcendental empiricism suggests an original theoretical approach to examination of art, aesthetic experience and sensation; the author of the article recites its prospect and innovativeness. According to this approach, art is not viewed in light of its special ontological or axiological status; on the contrary, the central becomes the study of its function – as production pf a special regime of space, and the place of origination of sense. The distinctness of Deleuzian aesthetics is revealed through the notion of sensation, which manifests as the core of criticism of the concept of the work and the traditional subject-objects scheme in application to art. Sensation is interpreted as a complicated composite construct that includes the space of aesthetical, as well as non-artistic corporeity and specific type of perceptive subjectivity. This allows expanding and reconceptualizing the notion of aesthetic comprehension, as well as develop the new productive methods of discourse on the nonfigurative and contemporary art.

Abstract: In her research Volodina suggests to develop a conceptual framework that would allow to see artwork and the process of artwork perception in a new light. The subject of the research is paintings by Alexander Arefjev and artists from his circle. Instead of just giving a descriptive characteristic of their paintings, the author tries to use their artwork to think of specific features of the artistic space and subjective perception thereof. Vododina pays special attention to such artistic features as flatness and density of plans which analysis allows to expand the framework of the philosophical definition of 'surface'. The author appeals to the conceptual framework offered by Gilles Deleuze, in particular, she uses his definition of the haptic vision as well as other terms to study a special type of vision demonstrated by the artwork of Ariefjev's circle. The result of the research is the author's description of special physics typical for that kind of space, and conceptualisation of a dynamic, non-identical to itself nomadic subjectivity created in the process of feeling. Thus, it is fair to say that art neither reproduces nor depicts the known but creates conditions for the appearance of something ontologically new in each sensation. Within the framework of this approach, art is viewed extensively as the sphere of extrasubjective affectivity which allows to define mechanics of the meaning-creating process and fulfil the potential of art as an instrument of philosophical immanence.