“周围世界”概念的美学出场:以生物艺术为研究对象

The Debut of“Umwelt”in Aesthetics:Taking Bioart as the Research Object

环境美学作为对传统自然美学思想的对立性补充,为人们重新审视自然的价值意涵打开了新的视野。然而,环境美学的两大脉络暗藏着难以弥合的分裂立场,尤其是在当代生物艺术对生命体及其生活的意义世界的多媒介再现中,传统的美学无法解决科学视域与主体视域的相互转换问题。本文试图指出,以“周围世界”为核心概念,将媒介视为生物艺术创作中映现、转换和建构不同“周围世界”的根本机制,有助于重新审视生物艺术的“艺术性”,并由此反思对自然的科学观察和参与体验如何整合并存的问题。

Environmental aesthetics,as an antagonistic supplement to traditional natural aesthetics,opens a new horizon for people to re-examine the value and meaning of nature.However,in environmental aesthetics theories there is a hidden split,which is difficult to be mended.Traditional aesthetics fail to describe and interpret the mutual transformation between the objective,scientific frame and the subjective,participatory frame in bioart works,which are multi-media representation of creatures and the worlds of meaning they live in.This paper attempts to point out that taking“Umwelt”as the core concept and media as the fundamental mechanism for reflecting,transforming and constructing different“Umwelten”in bioart helps to re-explore the question“why bioart is art”,and to reflect on how scientific observation on and participatory experience of nature could happen at the same time.