无名者的光环:本雅明和朗西埃论机械复制艺术

The Anonymous Aura:Benjamin and Rancière on the Mechanical Arts

德国哲学家本雅明认为,机械复制摧毁了艺术作品的"光环",即"不可接近性",从而预示了新的主体的诞生——大众,即无名者,首次在历史中绽现了出来,艺术不再是个人占有和凝想的私有物,而是为大众所共享的东西。朗西埃对本雅明的"技术决定论"提出了批评,认为机械艺术的产生并不是由新技术决定,而是取决于艺术体制的转型,即"艺术的审美体制"取消了题材之间的等级关系,容许普通事物成为艺术主题,从而提升了无名者的地位,也就是体现平等,但这并不意味着让艺术混融于日常之中,而是必须要给无名者赋予光环。无名者在光环之中得到了保存和揭示,也才能让观众愿意观看和参与到艺术作品之中。

Benjamin considers that the mechanical reproduction destroys the ＂aura,＂ or inaccessiblity, of artworks, which signals the birth of a new subject. The public, or the anonymous, appear in history for the first time; therefore, art was no longer private, but shared by the public. Ranciere criticizes Benjamin＇s ＂technological determinism,＂ claiming that the mechanical arts are not decided by the new technology, but dependent on the transformation of art. This means that the ＂aesthetic regime of art＂eliminates the hierarchy between subject matters and allows ordinary things to become art subjects. Thus, the status of the anonymous is improved, which embodies equality. But that does not mean to mixup art with everyday things, but to give the anonymous the aura, by means of which the anonymous are saved and revealed and the audience are willing to watch and participate in artworks.