巴迪歐提出的"非美學"概念中最核心的一個理念就是將藝術從哲學的束縛中解放出來,成為與哲學相對的一種獨立的真理程序。詩歌曾經一度被柏拉圖所摒棄,原因就在于它源自模仿的模仿,無助于理想之國的建立。然而在巴迪歐的思考中,他通過"非美學"視角,重新為詩歌正名。巴迪歐通過對馬拉美、策蘭等人的詩歌進行研究,發現了"詩歌"與"數學"完全可以對立共存。現代詩歌可以作為一個思想的形式來認證自身,它作為思想的任務,不是一個在語言的肉身上的奉獻的思想的有效存在,它是一套運作的方法,因此這個思想可以去思考它自身中蘊含的真理。詩歌的本質就是一次事件,是一個蘊含真理的集合。當詩人創作的詩歌被讀者進入后,三者構成了一個趨近于呈現真理的集合,詩人的靈感化作字母符號,為讀者進入后可能的真理呈現創造了條件,讀者必須進入詩歌內部才有可能觸碰到真理。當這一切瞬時發生時,詩歌作為一個事件,自然地擁有了呈現真理的可能性。

The core of Badiou’s concept of inaesthetics is to liberate art from philosophy and let it become an independent program of truth in contrast to philosophy. Among arts, poetry was once denounced by Plato, who thought it was an imitation of imitation and therefore unhelpful for the establishment of the Republic. Badiou, however, sets a high value on poetry from his inaesthetic perspective. From the poems of Stéphane Mallarmé, Paul Celan, and others, Badiou discovers a dialectical coexistence between poetry and mathematics. For him, modern poetry, as a form of thought, is able to verify itself. Being the task of idea, it is a set of operational methods rather than an effective existence of a thought devoted to the body of language. For this reason, poetry can contemplate the truth embedded in itself. It is essentially an event, an ensemble that embodies truths. When a poem enters the reader’s mind, it combines with the poet and the reader, and they constitute an ensemble that approaches the representation of truth. The poet’s inspiration is transformed into alphabetic symbols, which pave the way for readers’ access to truth after they enter poetry. In this moment, poetry, as an event, possesses the possibility of representing truth.