ИСТИНА

Abstract: semiotic and/or semiologic discourse was developed on the conceptual base of the signifier-signified relations analysis. Pierce, Saussure, Jackobson, Russian Formalists, Bakhtin, Barthes, Derrida and some others took verbal significations as the pure model of signifying phenomenon. Conclusions of such investigations could be applied to all fields of communication as fundamentally analogical to the verbal one because language was supposed to be involved in all forms of human activity. On this way semioticians/semiologists played a great role in art theory development, but non-verbal aspects of art were hardly covered with it. This was one of reasons why post-strusturalist researches (Deleuze, Foucualt, Barthes) appeared. Simultaneously, theory of art went on the basis of modern and contemporary art to institutional theory (Dickie and others) seeing its subject in the origin of verbal conventions on creations of art in special community called “the artworld”. This text is an attempt to conjoin the two theories in one and to reach a new, broader view on the aesthetic and origins of artistic creations, especially in contemporary art process. Key words: history and metahistory of aesthetics, aesthetics, semiology, aesthetic thinking and its modes, semionstitutional theory of the aesthetic.