Abstract
The article presents Jocelyn Benoist’s criticism of phenomenology as an epistemological project that reduces sensuality to a tool of reference to meaning, and his proposal to supplement phenomenology with an ontology of perception that does justice to sensuality itself. Following the philosopher, the parallels between formal and material phenomenology and modern aesthetics and poetics as a practice that reveals sensuality are drawn. The phenomenology of sound and the discussion of the avant-garde revolution in music (atonality, microtonality, concrete music) point to the limitations of modern aesthetics and illustrate possible directions for the development of a phenomenology of sensuality.
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