Alain Badiou’s "Inaesthetic" Art Theory

Alain Badiou is an important figure recognized in the field of philosophy in recent years.When the enrironment is full of skepticism and relativism, as w ell as the "death" and "end" trendency of philosophy and art, it is Alain·B adiou who calls on the reture of "Platonism", and by means of the Cantor s et theory of mathematic, Badiou puts forward the unique mathematical ontology to fight against the postmodernism and linguistic ontology of deconstructivism. At the same time, Badiou announces that truth, subject, event also reveals a new universal ideal which permits people to rethink the relationship of philosop hy and art. In Badiou’s view, there are four generic truth procedures namely s cience, art, politics and love, in which each program has its own truth producti on standard and can produce truth themselves, on this basis, he puts forward" inaesthetics" artistic schema, which holds that art is not bound to a philosoph y’s control, on the contrary, art has its owm internality and singularity which c ouId generate truth via art configuration and art event. Besides, Badiou also prop oses the mission and responsibility of "inaesthetic" art, that is to establish th e "unti-empire" art world, aiming to fight against the imperial art media and the distorted values of market. In all of Badiou’s concept of all "inaesthetics", artistic practice is an important factor, through specific interpretation of poetry, film, drama, dance and other art forms, we could understand Badiou more eas ily and intuitively. However, as a new born concept, there is also some limitati ons of "inaesthetics", for example, " inaesthetics" is not a strict and system atic concept which could not contain all of the arts, and thus his choice of art category is "critical" and "limited", whatsmore, Badiou’s rejection and use of language is also very contradictory. In addition, although Badiou insists that t he "inaesthetics" is the only way to evaluate art, however, we could find tha t it also exist in other procedures of truth such as politics, love. "Suture" ca n’t be avoided himselves at all. These are Badiou’s limitations, but we couldn’t deny his value, it is "inaesthetics" that opens up a new path for the conte mporary aesthetics through which art regains freedom and identity, and have a tremendous and positive impact on aesthetic growth and Chinese aesthetics as well.Specifically speaking, the paper is consist of five chapters, the introduction part mainly introduces the reason and significance of the selected topic, the re search status both in China and the West, as well as the content and intention of the paper, which provides a macroscopic background of the whole subject. The first chapter begins to cut into the theme, in this chapter, I focuse on th e introduction of Alain-Badiou and the ideological background of the "inaesthe tic" art theory,which equals to the "end" and "sature" tendency in philos ophy and the "end" and deconstruction tendency in art, the former includes Hermeneutics’"elucidation" tendency, Psychoanalysis’"regulation" tendency, and Postmodernisms’"deconstruction" tendency, while the latter contains the digestion of anti-art to art, the deconstuction of vulgar culture to art, art’s dise nchantment anti-romanticism and its anti-humanism tendency and so on.The second chapter focuses on the philosophical foundation of the "inaesth etic" art theory, which explains the philosophy foundation of art truth——event philosophy. In Badiou’s view, the continuity of knowledge sequence constitutes a false cognition (such as the Wittgenstein school), on the contrary, truth is t he breaking and overflow of continuity,in which point does event appear. On this basis, Badiou proposes four kind of generic truth procedures:art, mathe matics, politics and love, and further demonstrates the relationship of generic tr uth procedures(represented by the artistic truth) with the truth.The third chapter accesses the thesis more further, and deeply discusses th e generation of the definition of "inaesthetics" and the relationship between art and truth. Badiou puts forward three schema on art and truth——didactic sche ma, romantic schema and classical schema, and points out the predicament and decay they have been faced with in the 20th century, thus to put forward a ne w schema seems quite necessary,that"s the birth of " inaesthetics". In this cha pter, I am trying to make a detailed exploration on the generation, meaning, tr aits, truth viewpoint and the mission of "inaesthetics", trying to conduct a co mprehensive impression of "inaesthetics"The fourth chapter focuses on the "inaesthetics" art criticism practice, whic h is an important orientation of Badiou——starting from an unique artistic for m, and then discover the only possibility of truth from internal, and that also expose the vital significance of artistic practice in Badiou’s "inaesthetic". Th is chapter is mainly to take a detailed interpretation of poem, film, drama, dan ce criticism, and make a comprehension of "enaesthetic" from another perspe ctive.The fifth chapter is an overall conclusion which mainly analyzes the signif icance and limitation of the "inaesthetic" art theory. However, as a now-born theory, when "inaesthetic" brings flesh blood to aesthetic, there is also doome d to exist some defects, such as the contradiction of its own, and what it int erests is those philosophized art instead of covering art universally. Whatsmore, given that the "inaesthetic" aims to fight against the postmodernism, so in most cases it couldn’t stand in a objective and dialectical perspective.These are problems we need to ponder.In the conclusion part, I take an overall elaboration of Badiou’s "inastheti c" art theory, and analyze the deficiency of the paper. Overall, by ways of ref ering to the Western theory, I expect Chinese schlors could keep a foothold on the nationality and cultivate our own unique theory, as well as make a voice in the interaction to expliot the road of chinese asethetics.