从“机会”到“机器”——中国传统哲学对媒介考古学的消解

From“Opportunity”to“Machine”:Chinese Philosophy as a Resolution to Media Archaeology

媒介考古学从电影考古学对早期电影器物的重新发现中受到启发,主要受到“法国年鉴派”从研究“电影中的历史”转向“历史中的电影”观念以及福柯“知识考古学”和“谱系学”方法打断了历史的连续性链条的影响。对“深层时间”的探寻、对电影本身“多样性和异质性”的书写,均体现出西方人对传统媒介史虚无化的担忧,进一步延伸到对人的主体性追求的怀疑。借助于中国传统哲学(间性论),提出“机会”—媒介物—“机器”的循环模型,可以有效消解如下困惑:间性思想排斥人-物分离的形而上学思想,强调人、心、物之间“相几”的生态观念,使断裂的媒介史得以缝合;“物我齐一、物我两忘”的媒介艺术观使“失败”的媒介物得以持续鲜活;对“道”的体认使实体哲学中人的“身心错配”问题得以治愈。

Media Archaeology was inspired by film archaeology in the early cine-machines.It’s affected by two reasons:the first one,“French Annals School”changed to make researches on“the film in the history”from the opinion of“the history in the film”;the second one,“knowledge archaeology”and“genealogy”of Foucault broke the continuous chain of history.The finding of“deep time”and the describing of“variety and heterogeneity”all embody westerner’s worries about the nihility of media history as well as the doubts of pursuits of human subjectivity.With the help of Chinese traditional philosophy(interology),a circulation model of“opportunity-media-machine”could be established to solve the confusions:interolory excludes the separated relationship between human and material but emphasizes the ecological ideas of human being,heart and material in which existed a“xiang ji”construction that setured the broken media history;The media art concept of“I and material equals one”,“I and material forget each other”make the“abortive”media materials alive;The identification to“tao”cured the illness of“body-heart”mismatching.