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Abstract

Alain Badiou distinguishes between the didactic schema,classical schema and romantic schema in art,and further suggests that the avant-garde art does not create a new schema,but synthesizes the previous schemata into a didactico-romantic schema. Badiou strives to propose a new schema, the "inaesthetics" schema,which is both immanent and exclusive,that is,taking art as a truth-procedure. The inaesthetics schema is actually modeled around the avant-garde art,as Badiou believes that the avant-garde art embodies the "passion for the real" which implies two approaches of "destruction" and "subtraction." When Badiou attempts to combine these two approaches in his theory,he actually acknowledges that "inaesthetic" art is grounded on the avant-garde art. To put it alternatively,his combination of destruction and subtraction offers a new model of the avant-garde art.

Keywords

Alain Badiou, avant-garde, inaesthetics, the real, destruction, subtraction

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