Hyperaesthetics

technique, power, and the emergence of a regime of the sensible

Abstract

This article proposes the concept of hyperaesthetics as an inaugural hypothesis for understanding the emergence of a new technical regime of the sensible in contemporary times. In the face of widespread aestheticization, the technomediation of perception, and the financialization of attention, hyperaesthetics is presented not as mere digital aesthetics or style, but as a structural mutation of sensitivity operated by digital architectures. Between aisthesis and the modern aesthetics of judgment, a regime of performed presence, sensory coding, and technical production of experience is outlined. In dialogue with Benjamin, Gumbrecht, Kittler, and Baudrillard, the sensible appears as a strategic field of modulation, control, and economic valuation. The essay establishes conceptual landmarks, discusses epistemological, political, and ontological foundations, and indicates effects on perception, desire, and the economy of presence. Naming hyperaesthetics is, ultimately, an epistemic, political, and ontological gesture.