Farideh Afarin,
Volume 6, Issue 22 (5-2017)
Abstract
Henri Maldiney has applied two meanings to aesthetics. One is related to sensation, another is belong to theory of art and artistic aesthetic. In both definitions there is a common point, rhythm. Rhythm goes beyond the limits of its definition in music and painting. Also, it resolves the objective and subjective limitation in aesthetics. Rhythm is a kind of ontological term which bring together heterogenous parts. In this paper I elucidate the formation of rhythm and show the relationship between these two meanings of asthetics.
The important concepts in Maldiney’s aesthetics include rhythm, space-time which is implicated in rhythm, existential crisis, chaos, genesis of rhythmic dimension and last but not least the motif. Two meanings of aesthetics are related together in the point of formation of aesthetics or rhythmic dimension in artistic work. Rhythm on the one hand is modulation of being/artist in different situations or possibilities of existence and on the other hand, is an operation which bring together the different Givens and parts in the surface of artistic works. Rhythm is grounded on aesthetic dimension. According to this, it’s possible to read Maldiney’s aesthetics post. kantian one.
