Abstract

This article explores the changing parameters of sensibility in the context of a postan­thropocentric paradigm in art. In particular, we address the mechanism of the construc­tion of affects building on the idea of their external autonomy in art. The fundamental disconnectedness of the realm of sensuality is described in the context of object ontolo­gies, via the modes of connectedness and conditionality that exist beyond the limits of individual experience. A generalized description of the procedures of the postanthro­pocentric paradigm of distributed aesthetics is provided. The article discusses the shift in the understanding of the function and autonomy of art associated with the emergence of object forms of art. The current situation in object art, in particular in total installa­tions, suggests a different paradigm of aesthetics. The specific workings of such a para­digm are clarified on the basis of the distinction between affect and emotion proposed by Brian Massumi in his conception of the autonomy of affect. The authors conclude that in deanthropologized environments sensuality operates as a chain of distributed af­fects associated with the effects of increasing intensity and inhibition of intensity through forms of appropriation of affect into a chain of successive instances of sensual­ity. The article’s general theoretical task is to describe the operation of affect structures under conditions of object deanthropologization. The applied task of the article is to de­scribe the mechanisms of understanding and perception of object forms of art, in partic­ular such a form as total installation.