Abstract

Abstract This research paper comparatively assesses Deleuze’s and Lyotard’s post-Kantian thought on the sublime. Initially, I argue that their unfaithful treatment of Kant bears consonance in dramatizing the heterogeneity of the transcendental faculties, relegating determinate thought to a subsidiary consideration, and conceiving of aesthetics as an excessive mode of production rather than a reflective form of judgement. However, they diverge in the details regarding aesthetic production in their writings on modernist painting. In conclusion, I maintain that these accounts require a paradigmatic shift in thought away from determinate judgement toward a fidelity to events. The significance of drawing these two thinkers together in this regard is in the recognition and elucidation of an event-oriented ontology, whereby the subject is actively transformed through creative responses to singular events in a process of rupture and regeneration. This rests upon the postulate that reality is not exhausted by experience, and carries with it an ethical imperative to resist limiting the future to the present conditions of experience.

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