Abstract

Drawing on recent theories and debates concerning the everydayness of non-artistic and even private aesthetic experiences, this article aims at differentiating new ways of dealing with revulsion at the intersection of negative and everyday aesthetics, as another manner of extending or transcending the scope of traditional art-oriented aesthetics. The paradigms that I will trace in the history of negative aesthetics are not mere occurrences of disgust or repulsiveness in art and in everyday life, but ways of addressing the repulsive in relation to the culturally variable scope of art and aesthetics. Besides the classical paradigm that associates repugnant subjects with their pleasure-inducing imitations in art, and the transgressions of modern and contemporary art that increasingly shocked their audience, revulsion can also be regarded as a form of displeasure linked to the quotidian, yet aesthetically relevant forms of life. By virtue of this ordinary nature, which is not unfamiliar to other (non-Western) cultures, revulsion could be placed at the core of everyday aesthetics, since it confirms both the transition from contemplation to action in recent aesthetics, that is, the practical preoccupation with the aesthetic quality of living, and the broader redefinition of aesthetics in terms of sensory reactions.