摘要：These days there are many different understandings and definitions of the term aesthetics. Sometimes it is regarded as identical to the pleasing or the sensual, other times it has a more workaday meaning, being associated with e.g. a well-stocked lunch table. The common denominator, however, is that aesthetics is understood as something that can be recorded in the real world, having been assigned an independent existence. The concept has thus undergone ‘ontological dumping’, by which we understand that an analytical concept has become a “thing in the world”, i.e. an epistemological state has been transformed into an ontological state. The problem with this is that what can potentially be used to understand has instead turned into something to be understood. In the endeavour not to downgrade the epistemological dimension in favour of the experiential dimension, we attempt in this article to re-establish aesthetics as an analytical concept: Something to be seen with – instead of something that is seen. In addition, we put it into perspective alongside culture and art, which we feel has undergone the same ontological dumping. The article concludes with some reflections on the implications this may have for educational practice. As its theoretical springboard, the article takes the philosopher Jean-François Lyotard, drawing its exemplary material from the Norwegian author Karl Ove Knausgård.
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