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Madina Tlostanova<\/p>\nMadina Tlostanova<\/p>\n
El art\u00edculo estudia la aesthesis transmoderna en relaci\u00f3n con la agenda de liberar la esfera est\u00e9tica de los mitos de la modernidad occidental. La autora ofrece un resumen cr\u00edtico de las principales corrientes est\u00e9ticas occidentales frente al anti-sublime decolonial como modelo alternativo analizado en el art\u00edculo. Se presta especial atenci\u00f3n al mecanismo de este sublime, fundado en una hermen\u00e9utica plurit\u00f3pica y una \u201ccomunidad de sentido\u201d decolonial que une a quienes fueron marcados por la \u201cherida colonial\u201d. El art\u00edculo se enfoca en la reformulaci\u00f3n decolonial de problem\u00e1ticas est\u00e9ticas usuales, como la correlaci\u00f3n de belleza y aesthesis, la relaci\u00f3n de conocimiento y arte, de la esfera moral y la est\u00e9tica, etc. Finalmente, una larga secci\u00f3n se dedica a la aesthesis decolonial de la zona fronteriza euroasi\u00e1tica, los territorios en el Este (Asia Central) y Sur (C\u00e1ucaso) del continente euroasi\u00e1tico, que antes eran colonias rusas\/sovi\u00e9ticas, y producen hoy instancias complejas de arte decolonial en las obras de Saule Suleymenova, Zorito Dorzhiev y otros.<\/p>\n
Trans-modern aesthesis in the Eurasian borderlands and the decolonial anti-sublime<\/strong><\/p>\n The article considers transmodern aesthesis in relation to the agenda of liberating the aesthetic sphere from the myths of Western modernity. The author offers a critical survey of the main contemporary Western aesthetic trends vis-\u00e0-vis the decolonial anti-sublime as an alternative model analyzed in the article. Specific attention is paid to the mechanism of this sublime, grounded in a pluritopic hermeneutic and a decolonial \u201ccommunity of sense\u201d uniting those who were marked by the \u201ccolonial wound\u201d. The article focuses on the decolonial reformulating of usual aesthetic issues, such as the correlation of beauty and aesthesis, the relation of knowledge and art, the moral sphere and aesthetics, etc. Finally, a large part is devoted to decolonial aesthesis of the Eurasian borderlands: the territories in the East (Central Asia) and South (Caucasus) of the Eurasian continent which used to be Russian\/Soviet colonies and have produced complex instances of decolonial art in the works of Saule Suleymenova, Zorikto Dorzhiev and others.<\/p>\n