| 论艺术:当消费主义破坏它的氛围之时 |
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| 引用本文： | 高登·赫斯特,邵明.论艺术:当消费主义破坏它的氛围之时[J].宜宾学院学报,2012(4):1-5. |
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| 作者姓名： | 高登·赫斯特 邵明 |
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| 作者单位： | 南卡罗来纳大学哲学系 |
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| 摘 要： | 本杰明、杰姆逊和后期海德格尔对雕刻的反思都审视了在后现代时期艺术和技术的亲缘关系。本杰明主张技术摧毁了艺术的氛围,这是对机械中介物替代艺术家来控制美学的一种模糊批判。杰姆逊批判了笛卡尔式的主体再现于后现代主义中,这意味着通过电影(现在通过广告),艺术氛围已经不是一个不可逆的过去的随意回想,而是被吸引的观众当下生活的共鸣。这一点现在普遍反映在消费主义之中。海德格尔对与雕刻相关的空间和处所的反思,说明艺术的角色应该是阐明一个关系性的世界。我们必须学会发现自己正身处这样的世界之中,而不是通过那种维持我们娱乐的机械方法来利用艺术品味。
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| 关 键 词： | 艺术氛围 消费主义 技术 后现代主义 海德格尔 本杰明 杰姆逊 |
On Art:Once Consumerism Destroys Its Aura |
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| Authors: | Gordon Haist Translated by SHAO Ming |
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| Institution: | Gordon Haist Translated by SHAO Ming(University of South Carolina at Beaufort,Beaufort,SC 29902,USA) |
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| Abstract: | The kinship of art and technology in the postmodern age is examined in the thought of Walter Benjamin,Frederic Jameson,and Martin Heidegger′s late reflections on sculpture.Benjamin argues that technology destroys art′s aura,and this is interpreted as an implicit critique of aesthetics as under the control of the medium instead of the artist.Jameson′s critique of the return of the Cartesian subject in postmodernism suggests that through film(and now through advertising),aura is not the involuntary memory of an irretrievable past only,but also the distracted film viewer′s vicariously lived presence,which we argue consumerism now makes pervasive.Heidegger′s rethinking of space and place in relation to sculpture is then used to argue that the role of art is to illuminate a world of relatedness which we must learn to find ourselves in,rather than live the exploitation of taste through technological means of sustaining our distraction. |
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| Keywords: | art′s aura consumerism technology postmodernism Heidegger Benjamin Jameson |
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