进化论艺术史中的诸种观念及其类比谬误

On the Views in the Art History of the Theory of Evolution and Their Analogous Fallacies

各种进化论美学和艺术的观点通常将审美经验限定在一个历史时间模型中。简而言之,进化论美学和艺术观的运作隐含着一种深层的时间观念,这种观念成为单个事件的副现象(即艺术作品的创作和消费)的产生基础。他们认为深层时间由生物进化的节奏来控制。以这种时间感为基础,达尔文关于物种形成和变异的理论被进化论艺术史家用来描述艺术史的发展。艺术传统和艺术史中的断裂常常被用类似于分析生物繁殖和血统的术语来描述。当艺术史被认为是一个进化的过程时,我们有必要对其深层的方法论和哲学背景进行分析。对受到谱系、艺术意志、多重时序、复制、突变体、记忆痕迹、情念形式等概念,尤其是模因理论影响而形成的艺术史书写进行梳理,有助于我们理解进化论艺术史的主要范式,并反思进化论和生物学概念类比运用于艺术史研究时易于产生的种种谬误。

Various evolutionary views of aesthetics and art often limit aesthetic experience to a historical model of time.In short,the operation of evolutionary aesthetics and artistic views implies a deep conception of time that underpins the epiphenomena of individual events(i.e.,the creation and consumption of works of art).They believe that deep time is controlled by the rhythm of biological evolution.Based on this sense of time,Darwin’s theories about speciation and variation were used by evolutionary art historians to describe the development of art history.Ruptures in artistic traditions and the art history are often described in terms similar to the analysis of biological reproduction and lineage.It is necessary to analyze its deep methodological and philosophical context when art history is considered an evolutionary process.Sorting out the writing of art history influenced by concepts such as genealogy,artistic will,multiple temporalities,reproduction,mutants,memory traces,emotional forms,etc.,especially meme theory,helps us understand the main paradigms of evolutionary art history,and reflects on the fallacies that are prone to arise when evolutionary and biological analogies are applied to the study of art history.