Metamodernist Discourse in Comparative Art Epistemology

Abstract

In the last ten years, the scientific discourse has focused around a cluster of problems caused by the change of cultural paradigms, paying special attention to the spread of artepistems of the next civilizational cycle of cultural creation, which, presently, is called by some researchers “metamodernism”. Scientists discuss not only the formal adequacy and timely legality of this new term, which captures the corrections of the contemporary vector of postmodernism through the "de-doxification" of a renewed system of world perception, but also investigate the essential effectiveness of the oscillating aesthetics of metaxia (as oscillations between different narratives and cognitions), striving to overcome errors of cultural-industrial stratagems in anticipation of more harmonious, creative and productive results from new approaches recognized as post-liberal. In particular, applying comparative art epistemology, scientists analyze specific examples of the use of metamodern cognition in the creative projects of modern artists, where symbolic engrams of the "structure of feelings" are successfully used, which provide access to the absolute time of aletheia, while maintaining a connection with the realities of modernity.