The “Global Art Project” as a Reflection of the Interaction of Sociology of Art and Empirical Аesthetics

The competition and consensus of sociology and empirical aesthetics are conditional concepts. They demonstrate the possibilities of exploring art through a common interest in art. At first sociologists and aestheticians were not ready to apply their scientific potential to a common cause in the study of art. Their ideas were close to the philosophy of art (I. Taine), but the angles of studying art and the prevalent ways of reflection differed. There is competition between them when it comes to their choice of research practices. Sociologists have focused on various aspects of the transfer of symbolic patterns between generations and social communities. Within the framework of empirical aesthetics, emphasis was placed on the formation of aesthetic experience. At the same time, aestheticians considered art as a phenomenon influencing the formation of said experience. In addition, they paid attention to the transmission of such experiences between individual subjects. Initially there were no opportunities to combine the efforts of researchers. The article found that sociologists and aestheticians were approaching a consensus. The meaning of consensus is to “pivot” art towards a person. The article assesses the similarities and discrepancies in the views and approaches of sociologists and aestheticians. Their main task is to identify the institutional characteristics of art. At the stage of coming to a consensus, a general research trend has emerged, called the “global art project”. As revealed, the proposed “project” was aimed at deploying art for the individual.