环境美学

Environmental Aesthetics

伯梅主张用"环境(美学)"替代"自然(美学)"。区分二者的关键概念,就是"置身性":自然审美中的人不是面对一个外在对象———如传统美学所认为———而是置身在场,沉浸在某个环境中,被环境的某种情感特质所席卷。这是一种基于"身体"和"在之中"的新感性学,即以沉浸式的身体性在场作为理解"感性"的新出发点,由此建立一种新的自然美学。它的核心命题是:我通过我的身体性自觉而觉察到环境的特质。我通过身体在场的"我很冷"觉察到"天气很冷"。这是一种"主观性事实",可称之为"气氛",它既离不开主体的经验,但也不是出自主观臆造,而是可在主体间沟通和互认。这种美学不仅突破了自然和艺术,审美与非审美,而且突破了接受与制造之间的壁垒。环境美学由此成为一种"制造美学",它不满足于对环境做出美学解释,而是研究如何塑造环境,成为宜人的置身空间。希尔施菲尔德的园林美学是其先驱和范例。

Gernot B?hme replaces"nature"with"environment"in his aesthetics.The key of understanding such a differentiation is the concept of Befindlichkeit,which means that the aesthetic experience of nature is not to appreciate an external object,but to be there on your own body,being immerged in an environment,shocked by its qualities of feeling.This is a new aesthetics based on"body"and"being-in":I get aware of the characters of the environment through the bodily awareness of myself.e.g.I am aware of"it is cold"through the experience of"I am cold".This is a"subjective fact",namely,atmosphere,which depends on the experience of subject,but not purely subjectively,because it can be intersubjectively shared.Such an aesthetics of environment thus becomes into an"aesthetics of production",focusing on the building of environment,to make it be a humanized aesthetic space.From this point of view,the garden theory of Hirschfeld is an excellent example.