在场性显现:近代西方审美经验的存在论转向

Appearance of Presence: On the Ontological Turnof Modern Western Art Aesthetic Experience

二十世纪以来,西方美学家对审美经验一直存在着质疑,审美经验面临着各种价值及概念层面的挑战。从审美过程角度看,审美的发生机制是一个多感官联动、主体融入、客体认同的过程,其弊端在于审美经验和艺术品相分离。审美经验存在论转向的实质在于审美经验的不确定性合法化,强调审美过程的时间性,尤其强调审美经验区别于认识论和实践论的唯一性。为此,应该跳出近代主客二元论的审美思维,从“在场性”时间发生场域探讨审美经验的无限可能性。

Since the beginning of the 20th century, Western aestheticians have been questioning the aesthetic experience, which is facing various challenges at the value and concept levels. From the perspective of aesthetic process, the mechanism of artistic aesthetics is a process of multi-sensory linkage, subject integration and object identification, and its shortcoming lies in the separation of aesthetic experience and artwork. The essence of the transformation of aesthetic experience ontology lies in the legalization of the uncertainty of aesthetic experience, emphasizes the timeliness of aesthetic process, especially the uniqueness of aesthetic experience that is different from epistemology and practice. Therefore, we should refrain from the modern aesthetic thinking of subject-object dualism and discuss the infinite possibilities of aesthetic experience from the time domain of "presence".