投身“在此”——追问艺术重回审“美”之可能

To be Present:An Inquiry into the Possibilities of Return to the“Beauty”of Arts

在20世纪充分发展的语言分析哲学澄清下,"美"作为一个形而上学问题,在英美主流学术中,从对艺术现象的分析中剔除了。但康德以来的德国传统,在一种"经验转向"的道路上深化了对美与审美问题的辩护。谨守"经验"这个限度,美的问题既不必陷入存在论的幻象,也不至于在语言分析中丧失其合法性。"显现""气氛""突然"等概念转移了美学的焦点,为分析审美问题带来新的契机。"美"这个词可视为对某种特定经验要素的描述,这种经验要素是一种对此时、此地、此物与此在的充分觉察与融合,亦即一种"在此"状态。艺术,包括先锋艺术,其核心作用依然是激活僵化的感官,强化在此状态。在这个意义上,杜尚的作品无疑也是美的。

With the development of analytic philosophy since the early 20th century,‘the beautiful’has been driven out of the discussions of arts by the main stream of Anglo-American academia.However,the German philosophical tradition since Kant carries on the defense of the beautiful and the aesthetic values through turning to experience.Keeping within the scope of experience,the discussions of‘the beautiful’can neither fall into the illusion of ontology,nor lose its legitimacy through the analysis of language.The theories of‘appearing’,‘atmosphere’and‘suddenness’transfer the focus of aesthetics,bringing out new horizons of aesthetic discussions.The word‘beautiful’can be understood as a description of a certain moment of experience.Such a moment is the realizing of and identifying with Now-Here-This-Being,a state of being now and here.The central function of arts,including the avant-garde arts,is still to activate the sensibility and to reaffirm the state of being now and here.In this sense,Marcel Duchamp’s works are undoubtedly beautiful.