v. 2 n. 1 (2021): Dossiê - Outras vidas contra o espetáculo: o animal, a planta, a máquina e o alien (jan/jun 2021)
Artigos

O direito e o giro estético: O direito é um palco: da estética à estesia afetiva

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  • Andreas Philippopoulos-Mihalopoulos,
  • Igor Campos Viana,
  • Vanessa Vieira
Andreas Philippopoulos-Mihalopoulos
Universidade de Westminster, Londres, Inglaterra
Biografia
Igor Campos Viana
Universidade Federal de Minas Gerais, Belo Horizonte, Brasil
Biografia
Vanessa Vieira
Universidade Federal de Minas Gerais, Belo Horizonte, Brasil

Publicado 25-08-2021

Palavras-chave

  • estética jurídica,
  • estesia,
  • giro afetivo,
  • atmosfera,
  • lawscape

Copyright (c) 2021 (Des)troços: revista de pensamento radical

Creative Commons License

Este trabalho está licenciado sob uma licença Creative Commons Attribution-NonCommercial 4.0 International License.

Como Citar

O direito e o giro estético: O direito é um palco: da estética à estesia afetiva. (Des)troços: revista de pensamento radical, Belo Horizonte, v. 2, n. 1, p. 224–249, 2021. DOI: 10.53981/destroos.v2i1.33052. Disponível em: https://periodicos.ufmg.br/index.php/revistadestrocos/article/view/33052. Acesso em: 18 abr. 2025.

Resumo

A estética jurídica está em uma travessia. Da questão estética tradicional da definição do direito para o estésico, ou seja, o sensorial, o emocional, o aspecto afetivo do direito. O direito encena a si mesmo tornando-se espetacular e responsivo às pressões sociais, sacrificando seu suposto mito de neutralidade por outro mito, o de valor popular. E para ser atraente, o direito precisa desaparecer, se tornar o ar, a atmosfera. Precisa não aparecer como direito, mas sim se dissimular especificamente como conforto ou segurança anômica, saúde, bom senso, moralidade da mídia, enfim, a escolha certa a ser feita. Afinal, a estética da retirada do direito que se torna atmosfera é a estética capitalista em último grau. Mas aqui também está a esperança: o excesso afetivo de uma atmosfera a ronda e a quebra por dentro. A resistência visibiliza o direito atmosférico, expõe falsos desejos e supostas necessidades, e permite o retorno a um lawscape manejável, onde a encenação não é mais a única ontologia na cidade.

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