The initial concept for my contribution is the growing aestheticisation of everyday life. This process particularly concerns the urban setting, which in contemporary Western societies is becoming hyper-aesthetic and at the same time an aestheticising scenario. However, critics bring attention to the fact that the overabundance of aesthetic irritants leads to an indifference and suppression of other aspects of life. A perceptible part of contemporary art is ascribed to aestheticising processes and affirmative aesthetics is subordinate to conforming to the environment. This concerns primarily what is (quite awkwardly) termed public art. Yet artistic moves are appearing that are critical towards the aestheticisation of everyday life. Wolfgang Welsch labels them non-aestheticising. They again confirm Adorno's comment that “gerade den ästhetisch avancierten Nerven ist das selbstgerecht Ästhetische underträglich geworden.” These measures demand special attention of aestheticians especially at a time when they are attempting to develop further the critical potential of their field.Izhodišče mojega prispevka je naraščajoča estetizacija vsakdanjika. Postopek še posebej zadeva mestni prostor, ki v sodobnih zahodnih družbah postaja hiperestetska in obenem estetizirajoča scenerija. Vendar pa kritiki opozarjajo na to, da preobilica estetskih dražljajev vodi v ravnodušnost in v potlačitev ostalih življenjskih dimenzij. Opazen del sodobne umetnosti se vpisuje v estetizirajoče procese in afirmativno estetiko podreja ustrezanju okolju. To zadeva predvsem tako (precej nerodno) imenovano javno umetnost. Vendar pa se pojavljajo tudi umetniški ukrepi, ki so do estetizacije vsakdanjika kritični. Wolfgang Welsch jih označuje za neestetizirajoče. Znova potrjujejo Adornovo pripombo, da so “gerade den ästhetisch avancierten Nerven ist das selbstgerecht Ästhetische underträglich geworden.” Ti ukrepi zahtevajo posebno pozornost estetikov in sicer še posebej tedaj, ko skušajo nadalje razviti kritični potencial svojega področja
